Podcasts about site santa fe

Episode No. 703 of The Modern Art Notes Podcast features artist Dakota Mace and curator Claire Howard. SITE Santa Fe is showing "Dakota Mace: DAHODIYINII—SACRED PLACES," an investigation of an atrocity during which the United States expelled the Diné people from Dinétah, their ancestral homeland, and forced them to march as many as 400 miles to the Bosque Redondo in central-eastern New Mexico, where they were forced to remain in a concentration camp from 1864-68. The exhibition is organized into themes such as memory, land, and the stars; with each section of the show considering Diné cosmology. The exhibition, which is on view through May 19, was curated by Brandee Caoba. Mace is also featured in "Smoke in Our Hair: Native Memory and Unsettled Time" at the Hudson River Museum, Yonkers, NY. The exhibition examines how Native artists have explored memory and time, including how the past is continually remembered and reimagined. It was curated by Sháńdíín Brown and will remain on view through August 31, 2025. "Smoke in Our Hair" features previous MAN Podcast guests such as Saif Azzuz, Teresa Baker, and Andrea Carlson. Howard is the curator of one section of "In Creative Harmony: Three Artistic Partnerships" an exhibition that considers artistic discourse, at the Blanton Museum of Art, University of Texas at Austin. Howard's section considers the relationship between Arshile Gorky and Isamu Noguchi. Other sections present dialogue between Nora Naranjo Morse and her daughter Eliza Naranjo Morse and José Guadalupe Posada and Artemio Rodríguez. It's on view through July 20. Instagram: Dakota Mace, Claire Howard, Tyler Green.

Episode 449 / Fred Tomaselli (born 1956, Santa Monica, CA) Fred has been the subject of solo exhibitions at institutions including the Joslyn Art Museum, Omaha, NE (2019); Oceanside Museum of Art, Oceanside, CA (2018); Toledo Museum of Art, Toledo, OH (2016);  Modern Art Museum of Fort Worth (2014) and the University of Michigan Museum of Art (2014); a survey exhibition at Aspen Art Museum (2009) that toured to Tang Museum in Saratoga, NY and the Brooklyn Museum, Brooklyn NY (2010); The Fruitmarket Gallery, Edinburgh (2004) toured to four venues in Europe and the US; Albright-Knox Gallery of Art (2003); Site Santa Fe (2001); Palm Beach ICA (2001), and Whitney Museum of American Art (1999). His works have been included in international biennial exhibitions including Sydney (2010); Prospect 1 (2008); Site Santa Fe (2004); Whitney (2004) and others. Tomaselli's work can be found in the public collections of institutions such as the Museum of Modern Art; Whitney Museum of American Art; Metropolitan Museum of Art; Brooklyn Museum; Albright Knox Art Gallery; Hirshhorn Museum and Sculpture Garden; San Diego Museum of Contemporary Art; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; the Orange County Museum of Art, Santa Ana, CA; and many others.

Episode No. 667 is a summer clips episode featuring artist Melissa Cody. MoMA PS1 is presenting "Melissa Cody: Webbed Skies," through September 9. The exhibition features over 30 weavings and a new work. It was curated by Isabella Rjeille and Ruba Katrib. Cody, a fourth-generation Navajo weaver, creates tapestries from traditional techniques that engage both ancestral and contemporary ideas and forms. Her work is partly informed by the Germantown style, developed in the nineteenth century by weavers who used industrially dyed yarns produced in Germantown, Pennsylvania and shipped west to be used by Diné weavers. Cody's work has been included in exhibitions at the Crystal Bridges Museum of American Art, Bentonville, Ark., the National Gallery of Canada, Ottawa, SITE Santa Fe, the Institute of American Indian Arts, and more. This program was taped on the occasion of Cody's inclusion in the 2023 Hammer Museum "Made in LA" biennial. For images, see Episode No. 623. Instagram: Melissa Cody, Tyler Green.

This episode of Big Blend Radio's "Toast to The Arts & Parks" Show features mixed medoa artist Chelsea Bighorn, the National Parks Arts Foundation's June 2024 artist-in-residence at Saguaro National Park in Tucson, Arizona. Chelsea Bighorn was born and raised in Tempe, Arizona. Her tribal affiliations are the Fort Peck Assiniboine and Sioux tribes from Montana and the Shoshone-Paiute from Northern Nevada. Bighorn's work is the result of her combining traditional Native American design with elements from her Irish American heritage. Using this process, she tells her personal history through her art. Bighorn has shown her work at the Museum of Contemporary Native Art, SITE Santa Fe, The Balzar Gallery and her work is currently on display at The Center for Native Futures in Chicago, IL. She graduated with honors from The Institute of American Indian Arts in 2021 with a Bachelor of Fine Arts in Studio Arts.  More: http://www.chelseabighorn.com/  Learn more about the National Parks Arts Foundation's unique artist residency programs in parks across the country at https://www.nationalparksartsfoundation.org/ 

This episode marks the second time featuring artist and friend Raven Chacon on Broken Boxes. The first time I interviewed Raven was in 2017, when I visited with him at the Institute of American Indian Arts where he was participating in a symposium on Indigenous performance titled, Decolonial Gestures. This time around, we met up with Raven at his home in Albuquerque, NM where recurring host and artist Cannupa Hanska Luger chatted with Raven for this episode. The conversation reflects on the arc of Ravens practice over the past decade, along with the various projects they have been able to work on together, including Sweet Land (2020), an award-winning, multi-perspectival and site-specific opera staged at the State Historical Park in downtown Los Angeles, for which Raven was composer and Cannupa co-director and costume designer. Raven and Cannupa also reflect on their time together traveling up to Oceti Sakowin camp in support of the water protectors during the resistance of the Dakota Access Pipeline. Raven provides context to his composition Storm Pattern, which was a response to being onsite at Standing Rock, and the artists speak to the long term impact of an Indigenous solidarity gathering of that magnitude. Raven speaks about being named the first Native American composer to win the Pulitzer Prize or Voiceless Mass, and shares the composition's intention and performance trajectory. To end the conversation, Raven shares insight around staying grounded while navigating the pressures of success, travel and touring as a practicing artist, and reminds us to find ways to slow down and do what matters to you first, creatively, wherever possible. Raven Chacon is a Pulitzer Prize-winning composer, performer, and installation artist from Fort Defiance, Navajo Nation. As a solo artist, Chacon has exhibited, performed, or had works performed at LACMA, The Renaissance Society, San Francisco Electronic Music Festival, REDCAT, Vancouver Art Gallery, Haus der Kulturen der Welt, Borealis Festival, SITE Santa Fe, Chaco Canyon, Ende Tymes Festival, and The Kennedy Center. As a member of Postcommodity from 2009 to 2018, he co-created artworks presented at the Whitney Biennial, documenta 14, Carnegie International 57, as well as the two-mile-long land art installation Repellent Fence. A recording artist whose work has spanned twenty-two years, Chacon has appeared on more than eighty releases on various national and international labels. His 2020 Manifest Destiny opera Sweet Land, co-composed with Du Yun, received critical acclaim from the Los Angeles Times, the New York Times, and The New Yorker, and was named 2021 Opera of the Year by the Music Critics Association of North America. Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). Chacon is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, the American Academy's Berlin Prize for Music Composition, the Bemis Center's Ree Kaneko Award, the Foundation for Contemporary Arts Grants to Artists Award (2022) and the Pew Fellow-in-Residence (2022). His solo artworks are in the collectIons of the Whitney Museum of American Art, the Smithsonian's American Art Museum and National Museum of the American Indian, Los Angeles County Museum of Art, Getty Research Institute, the Albuquerque Museum, University of New Mexico Art Museum, and various private collections. Music Featured: Sweet Land, Scene 1: Introduction (feat. Du Yun & Raven Chacon) · Jehnean Washington · Carmina Escobar · Micaela Tobin · Du Yun · Raven Chacon · Lewis Pesacov. Released on 2021-09-24 by The Industry Productions

Episode No. 623 features artists Melissa Cody and Roksana Pirouzmand. Cody and Pirouzmand are both included in "Made in L.A. 2023: Acts of Living," the sixth iteration of the Hammer Museum's biennial. The exhibition, which is on view through December 31, was curated by Diana Nawi and Pablo José Ramírez, with Ashton Cooper. This is the first of two MAN Podcast episodes that will feature artists from the program. Cody, a fourth-generation Navajo weaver, creates tapestries from traditional techniques that engage both ancestral and contemporary ideas and forms. Her work is partly informed by the Germantown style, developed in the nineteenth century by weavers who used industrially dyed yarns produced in Germantown, Pennsylvania and shipped west to be used by Diné weavers. Cody's work has been included in exhibitions at the Crystal Bridges Museum of American Art, Bentonville, Ark., the National Gallery of Canada, Ottawa, SITE Santa Fe, the Institute of American Indian Arts, and more. Pirouzmand is an Iranian multidisciplinary artist whose work reference and use the human body to address diaspora and memory. She has exhibited across southern California at venues such as the California Institute of the Arts' REDCAT. Instagram: Melissa Cody, Roksana Pirouzmand, Tyler Green.

In this episode I had the honor to sit down with artist Jeffrey Gibson joined by curator and co-editor of An Indigenous Present, Jenelle Porter. We were given space at SITE Santa Fe in Director Louis Grachos office to have a long and generative conversation while we celebrated the book's launch over Indian Market weekend. We talk about Jeff's practice and his journey to this moment and the Artist shares the vulnerable, complicated, difficult and joyous path of choosing to be an Artist, offering reflection from what he has learned along the way, understanding how the practice and studio has evolved in the 20 some years of being a working Artist. We then dive in with both Jeff and Jenelle to speak on Jeff's thought process behind An Indigenous Present, learning about the years of care and intention behind the project, which is, as Jeff reflects, an “Artist book about Artists”. We round out our 2 plus hour chat with the excitement and work that has come with Jeffrey being named the artist to represent the U.S. at the 60th Venice Biennale. As we end our chat, both Jeff and Jenelle share important and practical insight on how to navigate the art worlds and art markets and Jeffrey reminds us all that “Artists do have the power to set precedence in institutions”. Featured song: SMOKE RINGS SHIMMERS ENDLESS BLUR by Laura Ortman, 2023 Broken Boxes introduction song by India Sky More about the publication An Indigenous Present: https://www.artbook.com/9781636811024.html More about the Artist Jeffrey Gibson Jeffrey Gibson's work fuses his Choctaw-Cherokee heritage and experience of living in Europe, Asia and the USA with references that span club culture, queer theory, fashion, politics, literature and art history. The artist's multi-faceted practice incorporates painting, performance, sculpture, textiles and video, characterised by vibrant colour and pattern. Gibson was born in 1972, Colorado, USA and he currently lives and works in Hudson Valley, New York. The artist combines intricate indigenous artisanal handcraft – such as beadwork, leatherwork and quilting – with narratives of contemporary resistance in protest slogans and song lyrics. This “blend of confrontation and pageantry” is reinforced by what Felicia Feaster describes as a “sense of movement and performance as if these objects ... are costumes waiting for a dancer to inhabit them.” The artist harnesses the power of such materials and techniques to activate overlooked narratives, while embracing the presence of historically marginalised identities. Gibson explains: “I am drawn to these materials because they acknowledge the global world. Historically, beads often came from Italy, the Czech Republic or Poland, and contemporary beads can also come from India, China and Japan. Jingles originated as the lids of tobacco and snuff tins, turned and used to adorn dresses, but now they are commercially made in places such as Taiwan. Metal studs also have trade references and originally may have come from the Spanish, but also have modern references to punk and DIY culture. It's a continual mash-up.” Acknowledging music as a key element in his experience of life as an artist, pop music became one of the primary points of reference in Gibson's practice: musicians became his elders and lyrics became his mantras. Recent paintings synthesise geometric patterns inspired by indigenous American artefacts with the lyrics and psychedelic palette of disco music. Solo exhibitions include ‘THE SPIRITS ARE LAUGHING', Aspen Art Museum, Colorado (2022); ‘This Burning World', Institute of Contemporary Art, San Francisco, California (2022); ‘The Body Electric', SITE Santa Fe, New Mexico (2022) and Frist Art Museum, Nashville (2023); ‘INFINITE INDIGENOUS QUEER LOVE', deCordova Sculpture Park and Museum, Lincoln, Massachusetts (2021); ‘To Feel Myself Beloved on the Earth', Benenson Center, Art Omi, Ghent, New York (2021); ‘When Fire is Applied to a Stone It Cracks', Brooklyn Art Museum, Brooklyn, New York (2020); ‘The Anthropophagic Effect', New Museum, New York City, New York (2019); ‘Like a Hammer', Madison Museum of Contemporary Art, Madison, Wisconsin (2019); Seattle Art Museum, Seattle, Washington (2019); Mississippi Museum of Art, Jackson, Mississippi (2019); Denver Art Museum, Denver, Colorado (2018); ‘This Is the Day', Blanton Museum of Art, Austin, Texas (2019); Ruth and Elmer Wellin Museum of Art, Clinton, New York (2018) and ‘Love Song', Institute of Contemporary Art, Boston, Massachusetts (2013). For the Toronto Biennial 2022, Gibson presented an evolving installation featuring fifteen moveable stages at Museum of Contemporary Art Toronto, Ontario, Canada. Other recent group exhibitions include ‘Dreamhome', Art Gallery of New South Wales, Sydney, Australia (2022); ‘Crafting America', Crystal Bridges, Bentonville, Arkansas (2021); ‘Monuments Now', Socrates Sculpture Park, Queens, New York (2020); ‘Duro Olowu: Seeing Chicago', Museum of Contemporary Art, Chicago, Illinois (2020) and The Whitney Biennial, Whitney Museum of American Art, New York City, New York (2019). Works can be found in the collections of Denver Art Museum, Denver, Colorado; Eiteljorg Museum, Indianapolis, Indiana; High Museum of Art, Atlanta, Georgia; Museum of Fine Arts, Boston, Massachusetts; The Museum of Modern Art, New York City, New York; National Gallery of Canada, Ottawa, Canada; Rose Art Museum, Brandeis University, Waltham, Massachusetts; San Francisco Museum of Modern Art, San Francisco, California; Seattle Art Museum, Seattle, Washington; Smithsonian Institution, Washington, DC and Whitney Museum of American Art, New York City, New York, amongst others. Gibson is a recipient of numerous awards, notably a MacArthur Foundation Fellowship (2019), Joan Mitchell Foundation, Painters and Sculptors Grant (2015) and Creative Capital Award (2005). More about Curator/Writer Jenelle Porter: Jenelle Porter is a curator and writer living in Los Angeles. Current and recent exhibitions include career surveys of Barbara T. Smith (ICA LA, 2023) and Kay Sekimachi (Berkeley Art Museum, 2021); Less Is a Bore: Maximalist Art & Design (ICA/Boston, 2019); and Mike Kelley: Timeless Painting (Mike Kelley Foundation and Hauser & Wirth, New York, 2019). She is co-editor of An Indigenous Present with artist Jeffrey Gibson (fall 2023), and a Viola Frey monograph (fall 2024). From 2011 to 2015 Porter was Mannion Family Senior Curator at the Institute of Contemporary Art/Boston, where she organized Fiber: Sculpture 1960–present and Figuring Color: Kathy Butterly, Felix Gonzalez-Torres, Roy McMakin, Sue Williams, as well as monographic exhibitions of the work of Jeffrey Gibson, Jessica Jackson Hutchins, Dianna Molzan, Christina Ramberg, Mary Reid Kelley, Arlene Shechet, and Erin Shirreff. Her exhibitions have twice been honored by the International Association of Art Critics. As Curator at the Institute of Contemporary Art, Philadelphia (2005–10), Porter organized Dance with Camera and Dirt on Delight: Impulses That Form Clay, the first museum surveys of Trisha Donnelly and Charline von Heyl, and numerous other projects. From 1998–2001 Porter was curator at Artists Space, New York. She began her career in curatorial positions at both the Walker Art Center and the Whitney Museum of American Art. She has authored books and essays including those on artists Polly Apfelbaum, Kathy Butterly, Viola Frey, Jeffrey Gibson, Sam Gilliam, Jay Heikes, Margaret Kilgallen, Liz Larner, Ruby Neri, and Matthew Ritchie, among others. An Indigenous Present: Conversation with Jeffrey Gibson and Jenelle Porter

On Season 3 episode 12 of The Art Career, Emily sits down with Carroll Dunham in his Connecticut home. Carroll Dunham lives and works in New York and Connecticut. His most recent solo exhibitions include National Museum, Oslo, 2023; Kunsthalle, Dusseldorf, and Sprengel Museum, Hannover, 2019–2020. His work has been the subject of numerous solo exhibitions at international institutions including Museum Ludwig, Cologne; Millesgården, Stockholm; Drammens Museum, Drammen; a mid-career retrospective was held at the New Museum of Contemporary Art, New York, in 2002. Dunham has also been included in notable group exhibitions including multiple Whitney Biennials and SITE Santa Fe; and at institutions including MAMCO, Geneva; the Museum of Modern Art, New York; Museu Picasso, Barcelona; and The Institute of Contemporary Art, Boston This episode is sponsored by BetterHelp. Visit ⁠⁠⁠⁠⁠⁠⁠⁠BetterHelp.com/TAC ⁠⁠⁠⁠⁠⁠⁠⁠today and get 10% off your first month. ⁠⁠⁠⁠⁠⁠⁠⁠theartcareer.com⁠⁠⁠⁠⁠⁠⁠⁠ Follow us: ⁠⁠⁠⁠⁠⁠⁠⁠@theartcareer⁠⁠⁠⁠⁠⁠⁠⁠ Podcast host: ⁠⁠⁠⁠⁠⁠⁠⁠@emilymcelwreath_art⁠⁠⁠⁠⁠⁠⁠⁠ Music: Chase Johnson Editing: ⁠⁠⁠⁠⁠⁠@benjamin.galloway

An excerpt from Raven Chacon's performance Solos, followed by a conversation with Xenia Benivolski, recorded live at e-flux on April 27.  Solos, is a series of short, improvised works performed in quick succession. Using a variety of acoustic and electronic instruments, Chacon's experimental compositions range from sparse, minimalistic soundscapes to complex, multi-layered works that incorporate voices, noises, and found sounds. Raven Chacon is a Pulitzer Prize–winning composer, performer, and installation artist from Fort Defiance, Navajo Nation. Since 2004, he has mentored more than three hundred Native high school composers in writing new string quartets for the Native American Composer Apprentice Project (NACAP). As a solo artist, collaborator, and a member of Postcommodity from 2009 to 2018, Chacon has exhibited, performed, or had works performed at the Los Angeles County Museum of Ar, The Renaissance Society, San Francisco Electronic Music Festival, REDCAT, Vancouver Art Gallery, Haus der Kulturen der Welt, SITE Santa Fe, Ende Tymes Festival, New York, the Whitney Biennial, documenta 14, Carnegie International, and Carnegie Museum of Art. Chacon is the recipient of a United States Artists Fellowship, a Creative Capital Award, Native Arts and Cultures Foundation Artist Fellowship, the American Academy's Berlin Prize, the Bemis Center's Ree Kaneko Award, and the Pew Center for Arts & Heritage's Fellowship-in-Residence. Xenia Benivolski writes and lectures about visual art, sound, and music. She is the curator of the project You Can't Trust Music which is an online e-flux exhibition.  

And now for something completely different!  Last October, The Santa Fe Institute held its third InterPlanetary Festival at SITE Santa Fe, celebrating the immensely long time horizon, deep scientific and philosophical questions, psychological challenges, and engineering problems involved in humankind's Great Work to extend its understanding and presence into outer space. For our third edition, we turned our attention to visionary projects living generations will likely not live to see completed — interstellar travel, off-world cities, radical new ways of understanding spacetime — as an invitation to engage in science as not merely interesting but deeply fun. For our first panel, we decided to inquire: What is time, really? How has science fiction changed  the way we track and measure, speak about, and live in time? And how do physics and complex systems science pose and answer these most fundamental questions?Welcome to COMPLEXITY, the official podcast of the Santa Fe Institute. I'm your host, Michael Garfield, and every other week we'll bring you with us for far-ranging conversations with our worldwide network of rigorous researchers developing new frameworks to explain the deepest mysteries of the universe.In this week's episode, we share the Complex Conceptions of Time panel from InterPlanetary Festival 2022, moderated by SFI President David Krakauer and featuring an all-star trinity of panelists: science journalist James Gleick, sci-fi author and SFI Miller Scholar Ted Chiang, and physicist and SFI Professor David Wolpert. In this hour, we play with and dissect some favorite metaphors for time, unroll the history of time's mathematization, review time travel in science fiction, and examine the arguments between free will and determinism.Be sure to check out our extensive show notes with links to all our references at complexity.simplecast.com — as well as the extensive, interactive web-based “Voyager Golden Record Liner Notes” with links to not only all of the panels from IPFest 2022 but also copious additional resources, including contributor bios, peer-reviewed publications, science fiction and nonfiction science writing, and more…If you value our research and communication efforts, please subscribe, rate and review us at Apple Podcasts or Spotify, and consider making a donation — or finding other ways to engage with us — at santafe.edu/engage.If you'd like some HD virtual backgrounds of the SFI campus to use on video calls and a chance to win a signed copy of one of our books from the SFI Press, help us improve our science communication by completing a survey about our various scicomm channels. Thanks for your time!Lastly, we have a bevy of summer programs coming up! Join us June 19-23 for Collective Intelligence: Foundations + Radical Ideas, a first-ever event open to both academics and professionals, with sessions on adaptive matter, animal groups, brains, AI, teams, and more.  Space is limited!  The application deadline has been extended to March 1st.OR apply to the Graduate Workshop on Complexity in Social Science.OR the Complexity GAINS UK program for PhD students.(OR check our open listings for a staff or research job!)Join our Facebook discussion group to meet like minds and talk about each episode.Podcast theme music by Mitch Mignano.Episode cover art by Michael Garfield with the help of Midjourney.Follow us on social media:Twitter • YouTube • Facebook • Instagram • LinkedIn(SOME) Mentioned & Related Links:David KrakauerMathematical languages shape our understanding of time in physicsby Nicolas GisinDoes Time Really Flow? New Clues Come From a Century-Old Approach to Mathby Natalie WolchoverThe Principle of Least ActionPath Integral FormulationClosed Timelike CurveThe Time Machineby H. G. WellsKip ThorneJames GleickGenius: The Life and Science of Richard FeynmanThe Physicist and The Philosopherby Jimena CanalesTed Chiang“Story of Your Life”ArrivalExhalationRussian Doll (TV series)“The Merchant and the Alchemist's Gate”David WolpertComplexity 94 - David Wolpert & Farita Tasnim on The Thermodynamics of CommunicationComplexity 45 - David Wolpert on The No Free Lunch Theorems and Why They Undermine The Scientific MethodA Connecticut Yankee in King Arthur's Court by Mark TwainIntuitionist Mathematics

Broken Boxes met up with musician and composer Laura Ortman during her Artist Residency at the Institute of American Indian Arts for this episode where we chatted about her long love affair with the violin, how music has supported her in navigating the ups and downs in life and the value of the violin in contributing to collaboration and transcending art mediums. Laura reflects on how she stays centered while constantly traveling as a practicing artist and she speaks about being DIY to a fault, how she is learning to accept support from community, grants and residencies along the way. She shares about her upcoming album and the components she put forward in creating the record, including songwriting and archival field recordings. We hear a bit about a recent performance at SITE Santa Fe - which was days away when we recorded this broadcast - and where she performed a site specific performance on artist Pedro Reyes' Disarm Violin, an instrument made from decommissioned gun parts. She spoke to the importance of long term collaborative relationships as a way to sustain community connections and combat isolation and offered some sound advice to not throw away ideas that don't resonate in the moment, to be patient with the process, and come back to a work that isn't quite fitting in the now. As we spoke, the artists' effect pedals and violin were set up around us and we ended the broadcast with Laura sharing a powerful live mini performance session. Laura Ortman, a member of the White Mountain Apache tribe, is a musician and composer who creates across multiple platforms, including albums, live performance, field recordings, and video works. As a soloist, Ortman performs on amplified and Apache violin, vocals, piano, electric guitar, and keyboard. She has performed and presented work nationally and internationally at The Museum of Modern Art, New York, NY (2021); the Whitney Museum of American Art, New York, NY (2019); the imagineNATIVE Film and Media Arts Festival, Toronto, Canada (2017, 2011); Musée d'Art Contemporain de Montréal, Montréal, Canada (2017); and the Centre Pompidou, Paris, France (2009). Ortman is a 2022 recipient of the United States Artists Fellowship. Listen to Laura's work on Bandcamp: https://thedustdiveflash.bandcamp.com

Tiokasin's guest in the first half-hour is Candice Hopkins, a citizen of Carcross/Tagish First Nation. Candice is executive director of Forge Project in Taghkanic, NY. Forge Project is a Native-led initiative centered on Indigenous art, decolonial education and supporting leaders in culture, food security and land justice. Candice's writing and curatorial practice explore the intersections of history, contemporary art and Indigeneity. She is Senior Curator for the 2019 and 2022 editions of the Toronto Biennial of Art. Candice was part of the curatorial team for the Canadian Pavilion at the 58th Venice Biennale, featuring the work of the media art collective Isuma; and co-curator of notable exhibitions including the national traveling survey Art for New Understanding: Native Voices, 1950s to Now; SITElines.2018: Casa Tomada, SITE Santa Fe; documenta 14, Athens and Kassel; and Sakahàn: International Indigenous Art, National Gallery of Canada, Ottawa. Notable essays include “The Gilded Gaze: Wealth and Economies on the Colonial Frontier,” in the documenta 14 Reader; “Outlawed Social Life,” in South as a State of Mind; and “The Appropriation Debates (or The Gallows of History),” in Saturation: Race, Art, and the Circulation of Value (New Museum/MIT Press, 2020). For more information about Forge Project, visit forgeproject.com In the second half, Tiokasin comments on the Aug. 26, 2022 article in Canada's National Observer newspaper, “Native American Journalists Association bars New York Times from its conference over harmful coverage”: https://bit.ly/3e5ePks Production Credits: Tiokasin Ghosthorse (Lakota), Host and Executive Producer Liz Hill (Red Lake Ojibwe), Producer Malcolm Burn, Studio Engineer, Radio Kingston, WKNY 1490 AM and 107.9 FM, Kingston, NY Tiokasin Ghosthorse, Audio Editor  Music Selections: 1. Song Title: Tahi Roots Mix (First Voices Radio Theme Song) Artist: Moana and the Moa Hunters Album: Tahi (1993) Label: Southside Records (Australia and New Zealand) (00:00:22) 2. Song Title: In the Anthropocene Artist: Nick Mulvey Album: On Limited Edition Vinyl (2019) Label: N/A (00:23:55) 3. Song Title: When It Rains It Pours Artist: Thelma Plum Album: N/A (Single) Label: N/A (Single) (00:40:50) 4. Song Title: Blue Moon Drive Artist: iskwē, Tom Wilson feat. Chuck Copenace Album: Mother Love (2022) Label: iskwē Music, Inc. (00:44:45) 5. Song Title: Things have Changed Artist: Bob Dylan CD: Wonder Boys - Music from The Motion Picture (2000) Label: Columbia/Sony Music/Soundtrax (00:48:45) 6. Song Title: Warrior Artist: Xavier Rudd and the United Nations Album: Nanna (2015) Label: Nettwerk (00:54:10) AKANTU INSTITUTE Visit Akantu Institute, an institute that Tiokasin founded with a mission of contextualizing original wisdom for troubled times. Go to https://akantuinstitute.org/ to find out more and consider joining his Patreon page at https://www.patreon.com/Ghosthorse. 

Transdisciplinary artist Maria Hupfield activates her creations in live performances. She is interested in the production of shared moments that open spaces for possibility and new narratives. In her work, these moments of connection are recalled and grounded by coded and re-coded hand-sewn industrial felt creations and other material mash-ups worn on the body. An Urban off-reservation member of the Anishinaabek People she belongs to Wasauksing First Nation in Ontario, Hupfield is deeply invested in embodied practice, Native Feminisms, collaborative processes, craft and textiles. Sound shared in this episode Maria Hupfield and Tusia Dabrowska Electric Prop and Hum Freestyle documentation from 3 performances by Maria Hupfield and Tusia Dabrowska, including: 11.30.2017 MAD Museum 12.06.2017 The Gibney Dance Theater 07.03.2018 The Bric Media House Maria Hupfield Performance Piece at Bronx Museum of the Arts June 15th 2015 with Laura Ortman “The one who keeps on giving” performance by Maria Hupfield 2017-01-29 documented at The Power Plant Contemporary Art Gallery Toronto Biography: Maria Hupfield is a 2020-2022 inaugural Borderlands Fellow for her project Breaking Protocol at The Vera List Center for Art and Politics at the New School and the Center for the Imagination in the Borderlands at Arizona State University, and was awarded the Hnatyshyn Mid-career Award for Outstanding Achievement in Canada 2018. Previous projects at Galerie Hugues Charbonneau included her 2014 Performance Lab and 2017 transdisciplinary installation Stay Golden. She has exhibited and performed her work through her touring solo exhibition The One Who Keeps On Giving (organized by The Power Plant) 2017-2018, and solo Nine Years Towards the Sun, at the Heard Museum, Phoenix, 2019-2020. Amongst other places, she has also presented her work at the Montreal Museum of Contemporary Art, the NOMAM in Zurich, the Montreal Museum of Fine Arts, Galerie de L'UQAM, the New York Smithsonian Museum of the American Indian, the New York Museum of Art and Design, BRIC House Gallery, the Bronx Museum, Boston Museum of Fine Arts, Site Santa Fe, and the National Gallery of Canada. She is co-owner of Native Art Department International with her husband artist Jason Lujan, and a founding member of the Indigenous Kinship Collective NYC. Website: https://mariahupfield.wordpress.com This episode first aired June 14, 2021 for Broken Boxes on Radio Coyote, a project initiated by Raven Chacon and CCA Wattis Institute, on the occasion of Chacon's 2020-21 Capp Street Artist-in-Residency. Radio Coyote is currently produced by Atomic Culture and will transition to new programming Summer, 2021. www.radiocoyote.org

Transdisciplinary artist Maria Hupfield activates her creations in live performances. She is interested in the production of shared moments that open spaces for possibility and new narratives. In her work, these moments of connection are recalled and grounded by coded and re-coded hand-sewn industrial felt creations and other material mash-ups worn on the body. An Urban off-reservation member of the Anishinaabek People she belongs to Wasauksing First Nation in Ontario, Hupfield is deeply invested in embodied practice, Native Feminisms, collaborative processes, craft and textiles. Sound shared in this episode Maria Hupfield and Tusia Dabrowska Electric Prop and Hum Freestyle documentation from 3 performances by Maria Hupfield and Tusia Dabrowska, including: 11.30.2017 MAD Museum 12.06.2017 The Gibney Dance Theater 07.03.2018 The Bric Media House Maria Hupfield Performance Piece at Bronx Museum of the Arts June 15th 2015 with Laura Ortman “The one who keeps on giving” performance by Maria Hupfield 2017-01-29 documented at The Power Plant Contemporary Art Gallery Toronto Biography: Maria Hupfield is a 2020-2022 inaugural Borderlands Fellow for her project Breaking Protocol at The Vera List Center for Art and Politics at the New School and the Center for the Imagination in the Borderlands at Arizona State University, and was awarded the Hnatyshyn Mid-career Award for Outstanding Achievement in Canada 2018. Previous projects at Galerie Hugues Charbonneau included her 2014 Performance Lab and 2017 transdisciplinary installation Stay Golden. She has exhibited and performed her work through her touring solo exhibition The One Who Keeps On Giving (organized by The Power Plant) 2017-2018, and solo Nine Years Towards the Sun, at the Heard Museum, Phoenix, 2019-2020. Amongst other places, she has also presented her work at the Montreal Museum of Contemporary Art, the NOMAM in Zurich, the Montreal Museum of Fine Arts, Galerie de L'UQAM, the New York Smithsonian Museum of the American Indian, the New York Museum of Art and Design, BRIC House Gallery, the Bronx Museum, Boston Museum of Fine Arts, Site Santa Fe, and the National Gallery of Canada. She is co-owner of Native Art Department International with her husband artist Jason Lujan, and a founding member of the Indigenous Kinship Collective NYC. Website: https://mariahupfield.wordpress.com This episode first aired June 14, 2021 for Broken Boxes on Radio Coyote, a project initiated by Raven Chacon and CCA Wattis Institute, on the occasion of Chacon's 2020-21 Capp Street Artist-in-Residency. Radio Coyote is currently produced by Atomic Culture and will transition to new programming Summer, 2021. www.radiocoyote.org

Working in the border territory between abstraction and representation, James Esber uses a variety of media to disassemble and distort the emotionally charged and often clichéd images of Americana. The characters he's drawn to, pawed-over icons of popular culture, include things like gunslingers, flag-wavers, dimpled children holding flowers, deadbeat alcoholic dads, and self-absorbed selfie-takers. His paintings, built through a process of hyperbolic mark-making, are done with myopic focus on each part, shifting between scales and allowing for improvised digressions which nudge the image toward abstraction. The resulting hybrid images are often fragmenting and imploding while at the same time stubbornly retaining their integrity. James Esber has shown his work in New York and abroad including a 25-year survey at the Clifford Gallery at Colgate University (2014) and a solo exhibition at the Aldrich Contemporary Art Museum in Ridgefield, CT (2011). He has had multiple one-person shows at PPOW, NYC, Bernard Tolle in Boston and Pierogi in both New York and Leipzig. He has also shown widely in group exhibitions, including One Work at the Tang Museum (2014), The Land of Earthly Delights at The Laguna Art Museum (2008), and SITE Santa Fe's Fifth International Biennial: Disparities and Deformations: Our Grotesque (2004). He lives in Brooklyn, NY and is represented by Pierogi Gallery. The book mentioned in the interview is The Inkblots by Damion Searls. Hero, 2021, Acrylic on PVC panel, 48 x 62.5 inches Thinker 2, 2020, Acrylic on PVC panel, 40.5 x 32 inches

MARCOS RAMÍREZ ERRE Nacido en Tijuana en 1961, obtiene la Licenciatura en Derecho en la Universidad Autónoma de Baja California en 1982. En 1983 emigra a los Estados Unidos donde trabaja en la industria de la construcción durante 17 años. En 1989 -aun manteniendo su actividad como constructor- empieza su incursión en el campo de las artes visuales. Desde entonces ha participado en residencias, conferencias y muestras de arte en países como México, Canadá, Estados Unidos, Alemania, Suecia, Polonia, Portugal, Francia, España, Rusia, China, Cuba, Colombia, Puerto Rico, Chile, Brasil y Argentina. Algunas de estas exhibiciones de carácter internacional como Insite 94, Insite 97, la Sexta y Séptima Bienales de la Habana, la Bienal del Museo Whitney del año 2000, la Trienal Poligráfica de San Juan Puerto Rico y el Caribe, la Segunda Bienal de Moscú, La bienal de Sao Paulo/Valencia 2007, la Bienal de California y La Bienal Zero One de Silicón Valley, La bienal de Site Santa Fe, “Unssetled Landscapes”. Así como “Made in California”, México Iluminado, “Extrange New World”, “From Baja to Vancouver”, Política de la Diferencia / Arte Ibero Americano de fin de siglo, y ECO. Arte Contemporáneo Mexicano en el Centro de Arte Museo Reina Sofía y Crisis, Arte y Confrontación en América Latina, en el Palacio de Bellas Artes de México entre otras. Ha impartido cursos en la Escuela de Arte de la Universidad de California en San Diego y en el California Institute of the Arts, en Valencia California. En 2003 fundo Estacion Tijuana el cual dirigió hasta 2010, un espacio alternativo donde desarrollo un programa sobre arte, arquitectura, urbanismo y cultura popular . En el 2011 presento una exhibición retrospectiva de 20 años de trabajo titulada La Reconstrucción de los Hechos, en el Museo Carrillo Gil de la Ciudad de México. En 2007 recibió la beca United States Artist Fellowship, y actualmente es miembro del Sistema Nacional de Creadores de Arte en México. Para conocer más sobre Marcos R. Erre favor de visitar: MassMoca Westmount Museum of Art UnitedStatesartists Harvardedu LA Times

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Doug DuBois talk about the influence photographers Larry Sultan and Jim Goldberg had on Doug’s artistic development while he was in grad school in San Francisco.  Doug discusses his long term project, My Last Day at Seventeen and the complex, always evolving, responsibility he feels for how the teenage subjects, now adults, were represented. Doug’s openness, honestly and good humor bring warmth and breadth to this conversation. http://dougdubois.com https://aperture.org/books/my-last-day-at-seventeen/?post_type=product&p=12198/ Doug DuBois’ photographs are in the collection of the Museum of Modern Art in NY, SFMOMA in San Francisco, J. Paul Getty Museum and LACAMA in Los Angeles, The Museum of Fine Art in Houston, the Library of Congress in Washington DC and the Victoria and Albert Museum, London. He has received fellowships from the John Simon Guggenheim Foundation, the MacDowell Colony, Yaddo, The National Endowment for the Arts, SITE Santa Fe, Light Works and The John Gutmann Foundation. Doug DuBois has exhibited at The J Paul Getty Museum in Los Angeles; The Aperture Foundation, The Museum of Modern Art and Higher Pictures in New York; SITE, Santa Fe; New Langton Arts in San Francisco; PARCO Gallery, Tokyo, Japan, Museo D’arte Contemporanea in Rome, Italy and The Irish Museum of Modern Art, The Crawford Art Gallery and the Gallery of Photography in Ireland. He has published two monographs with the Aperture Foundation, My last day at Seventeen (2015), All the Days and Nights (2009); exhibition catalogues including Where We Live: Photographs from the Berman Collection (2007) with the J. Paul Getty Museum, The Pleasures and Terrors of Domestic Comfort (1991) with the Museum of Modern Art; as well as features in Double Take, The Picture Project, The Friends of Photography, and in magazines including The New York Times, Time, Details, GQ, The Telegraph and Financial Times of London, Monopol in Berlin and Outlook Magazine in Beijing. Doug DuBois received his MFA from the San Francisco Art Institute and is an associate professor at Syracuse University and on the faculty at the Hartford Art School’s International Limited Residency MFA program in photography. Find out more at https://photowork.pinecast.co

Episode No. 475 features artist Amy Cutler and curator Samantha Friedman. Cutler is included in "Telling Stories: Resilience and Struggle in Contemporary Narrative Drawing" at the Toledo Museum of Art. The exhibition, which also features Robyn O'Neil and Annie Pootoogook examines how the three artists have used contemporary drawing to build and explore narrative. Curated by Robin Reisenfeld, "Telling Stories" will be on view through February 14, 2021. Cutler's paintings join feminism-informed suggested or hinted-at narratives to traditions that include miniature painting, textile design, nature and landscape, and more. Her work has been featured in solo exhibitions at the Joslyn Art Museum in Omaha, the Virginia Museum of Contemporary Art in Virginia Beach, at SITE Santa Fe, the Weatherspoon Art Museum at the University of North Carolina, Greensboro, and more. In February 2021 the Madison (Wisc.) Museum of Contemporary Art will present a survey of Cutler's work. On the second segment, Museum of Modern Art, New York curator Samantha Friedman discusses "Degree Zero: Drawing at Midcentury." On view through February 6, 2021, the exhibition examines how artists on five continents used drawing to create new visual languages in the years after World War II.

Fred Tomaselli is an artist born in Santa Monica who is based out of New York City. He’s had solo shows at the Metropolitan Museum, the Orange County Museum, James Cohan, the Brooklyn Museum, White Cube, The Rose Museum, the Albright-Knox, Site Santa Fe, the Whitney Museum and many others. He’s been included in group shows at the Aspen Art Museum, LAMOCA, the Whitney Biennial, the Berlin Biennale, and at MoMA just to name a few. His work is in the collection of the Addison Gallery of American Art, the Albright-Knox Art Gallery, the Art Institute of Chicago, the Brooklyn Museum of Art, the Carnegie Museum of Art, the Cornell Fine Arts Museum, the Guggenheim Museum, the Hirshhorn Museum, the The Metropolitan Museum of Art, the Museum of Modern Art, The Whitney Museum of American Art, New York, NY, and many others. Brian stopped by Fred’s East Village studio to talk about perceptual portals, the James Turrell moment, escapist art and the seeing the Germs live and more. Sound & Vision is supported by Topo Designs. Based in Denver Colorado, Topo is committed to creating quality bags and clothing that stand the test of time. Check out their products at topodesigns.com Sound & Vision is also brought to you by Charter Coffeehouse. Charter is on Graham Avenue in East Williamsburg, just one block from the Graham L Stop. Find out more at www.chartercoffee.com, follow them on Instagram at @charter_bk

Kade L. Twist, is an interdisciplinary artist working with video, sound, interactive media, text and installation environments. Twist's work combines re-imagined tribal stories with geopolitical narratives to examine the unresolved tensions between market-driven systems, consumerism and American Indian cultural self-determination.   Twist is one of the co-founders of Postcommodity, an interdisciplinary artist collective. With his individual work and the collective Postcommodity, Twist has exhibited work nationally and internationally including the: Arizona State University Art Museum, Tempe, Arizona; Scottsdale Museum of Contemporary Art, Scottsdale, Arizona; National Museum of the American Indian, Gustav Heye Center, Smithsonian Institution, New York; Museum of Contemporary Native Arts, Santa Fe; SITE Santa Fe; Pennsylvania Academy of Fine Arts Museum; Art Gallery of Ontario, Toronto; Nuit Blanche, Toronto; Contour: 5th Biennial of the Moving Image, Mechelen, Belgium; Adelaide International, Adelaide, Australia; National Museum of of Art, Architecture and Design, Oslo; and the 18th Beinnale of Sydney.

Santa Fe, NM has long been a center of the visual arts in the United States. For more than a century, modern artists have retreated to the dry climate. The region is also home to a rich array of native and Spanish artists and artisans that have attracted visitors for hundreds of years. With a large number of vacation homes and occasional visitors, a long-running international opera that attracts foreign visitors and being a major tourist have made Santa Fe a magnet for art dealers as well as art buyers. There are more than 200 galleries in the city spread across four major neighborhoods. SITE Santa Fe, a national and international Contemporary art venue, re-opens in expanded form this Fall. Mike Tansey and Barry Ellsworth are two prominent gallerists in the city, they talk about the culture of art dealing in Santa Fe.

Is a magical and triumphant return. We were on a post-EXPO vacation and we don't mind admitting that we feel little sheepish about it. This is an epic return to form. First we repatriate Brian Andrews as he returns to work in the mother ship and for DePaul University.  Then we are joyously joined by our sponsor for the month, SAIC's low residency MFA program! For those of you already establishing your practices and looking to take the next step this program is for you.  then Irene Hofmann rewrites the script at Site Santa Fe to buck the proliferation biennial trend and provide a fertile ground for those of us participating in the Pan American experience. Then roughly 46 minutes in Ben Davis and Duncan start to solve arts journalism and end up solving art!!! They are two the best conversations we've had at EXPO and you'll enjoy them. Occupy this show!

In this episode, Maria Hupfield speaks about her experiences living as an artist in New York, the influence her upbringing has had on her lifestyle, and shares reflections on where she finds inspiration to fuel her creative process. Maria speaks about her recent project It Is Never Just About Sustenance or Pleasure as part of SITElines, which is the second installment in SITE Santa Fe's biennial series, opening July 16, 2016. Maria also reflects on the #callresponse project and shares more about her role as a participating artist and as one of the three initial project organizers. Maria Hupfield is a member of Wasauksing First Nation, Ontario, currently based in Brooklyn NY. A featured international artist with SITE Santa Fe 2016, she received national recognition in the USA from the prestigious Joan Mitchell Foundation for her hand-sewn industrial felt sculptures. Hupfield was awarded a long term Canada Council for The Arts Grant to make work in New York with her nine-foot birchbark canoe made of industrial felt assembled and performed in Venice, Italy for the premiere of Jiimaan, coinciding with the Venice Biennale 2015. Recent projects include free play Trestle Gallery Brooklyn with Jason Lujan, and Chez BKLYN an exhibition highlighting the fluidity of individual and group dynamics of collective art practices; conceived by artists in Brooklyn and relayed at Galerie SE Konst, Sweden. She was a guest speaker for the Distinguished Visiting Artist Program, University of British Columbia, Indigenous Feminist Activism & Performance event at Yale, Native American Cultural Center and Women's Gender and Sexuality Studies, and the Indigenous Rights/Indigenous Oppression, Symposium with Tanya Tagaq at the School of Public Policy, University of Maryland, MD. Like her mother and settler accomplice father before her Hupfield is an advocate of native community arts and activism. The founder of 7th Generation Image Makers, Native Child and Family Services of Toronto, a native youth arts and mural outreach program in downtown Toronto she is Co-owner of the blog Native Art Department International. Hupfield is represented by Galerie Hugues Charbonneau in Montreal.

In this episode, Maria Hupfield speaks about her experiences living as an artist in New York, the influence her upbringing has had on her lifestyle, and shares reflections on where she finds inspiration to fuel her creative process. Maria speaks about her recent project It Is Never Just About Sustenance or Pleasure as part of SITElines, which is the second installment in SITE Santa Fe’s biennial series, opening July 16, 2016. Maria also reflects on the #callresponse project and shares more about her role as a participating artist and as one of the three initial project organizers. Maria Hupfield is a member of Wasauksing First Nation, Ontario, currently based in Brooklyn NY. A featured international artist with SITE Santa Fe 2016, she received national recognition in the USA from the prestigious Joan Mitchell Foundation for her hand-sewn industrial felt sculptures. Hupfield was awarded a long term Canada Council for The Arts Grant to make work in New York with her nine-foot birchbark canoe made of industrial felt assembled and performed in Venice, Italy for the premiere of Jiimaan, coinciding with the Venice Biennale 2015. Recent projects include free play Trestle Gallery Brooklyn with Jason Lujan, and Chez BKLYN an exhibition highlighting the fluidity of individual and group dynamics of collective art practices; conceived by artists in Brooklyn and relayed at Galerie SE Konst, Sweden. She was a guest speaker for the Distinguished Visiting Artist Program, University of British Columbia, Indigenous Feminist Activism & Performance event at Yale, Native American Cultural Center and Women's Gender and Sexuality Studies, and the Indigenous Rights/Indigenous Oppression, Symposium with Tanya Tagaq at the School of Public Policy, University of Maryland, MD. Like her mother and settler accomplice father before her Hupfield is an advocate of native community arts and activism. The founder of 7th Generation Image Makers, Native Child and Family Services of Toronto, a native youth arts and mural outreach program in downtown Toronto she is Co-owner of the blog Native Art Department International. Hupfield is represented by Galerie Hugues Charbonneau in Montreal.

We meet Andrea Bowers, an artist from Ohio who's based in Los Angeles, to talk about her passion for addressing social and political issues. Curators of two international biennials in North America selected her work for their 2014 exhibitions. Her Courtroom Drawings appear in l'Avenir, the inaugural Montreal Biennial. Two of Bowers's projects concerning environmental activism are on view in Unsettled Landscapes at SITE Santa Fe. Sound Editor: Kris McConnachie | Episode Sound courtesy Andrea Bowers: I Plan to Stay a Believer, #sweetjane, & The Weapon of a Princess Special feature performance by Malian singer and women's rights activist, Fantani Touré: L'arme d'une princesse / The Weapon of a Princess, 2014 Video, 24min53, With the support of the Espace culturel Louis Vuitton

This episode takes place at SITE Santa Fe, New Mexico. We arrived just before the opening of SITE's 2014 international biennial Unsettled Landscapes to record the voices of these five artists from across the Americas: Glenda León, Jason Middlebrook, Melanie Smith, Jamison Chas Banks, and Gianfranco Foschino. Sound Editor: Kris McConnachie | Episode sound effects, in order of appearance: Santa Fe Railyard, Melanie Smith, Gianfranco Foschino

The remote landscape and native culture of the American Southwest has long inspired artists and writers. Before the 1995, traditional landscape painting, pottery, weaving, and silver jewelry were perhaps the best-known regional aesthetics. And then came the nonprofit art space SITE Santa Fe, the first official outpost of contemporary art in New Mexico, and home to one of the first international biennials. On Skype, Cathy Byrd speaks with Irene Hofmann, Director and Chief Curator of SITE, about radical changes in the way the space connects with artists and communities in the Americas. Sound Editor: Kris McConnachie Sound credits in order of appearance: Pablo Helguera/SITE Santa Fe; Liz Cohen; and Giancarlo Foschino

Featuring art events throughout New Mexico, including at Launchprojects, SITE Santa Fe, Photo-Eye Gallery, Alan Barnes Fine Art and more.