Podcasts about Smithsonian American Art Museum

Welcome to this Inwood Art Works On Air podcast artist spotlight episode featuring visual artist, Francisco Alvarado. Francisco Alvarado is an internationally recognized New York artist born in Honduras, has had over 50 individual and 90 group exhibitions. His artwork is represented in various permanent museum collections including the Smithsonian American Art Museum, Brooklyn Museum of Art, Everson Museum of Art and Museo Pablo Serrano in Zaragoza, Spain.www.franciscoalvarado.com

Episodes Summary: A beautiful and powerful art exhibition is touring the country right now, called Pictures of Belonging, which explores three artists of Japanese descent - Miki Hayakawa, Hisako Hibi and Miné Okubo. The exhibition puts these artists and their work in their rightful place in the history of American art. For this bonus episode, producer and lead writer David Taylor visits the exhibition at the Smithsonian American Art Museum and shares his insights about Miné Okubo, who was featured in Episode 9: Is This Land Your Land? She was a painter who was working with Diego Rivera on murals for the WPA when she was detained and sent to an incarceration camp during World War 2. She used her artwork to bear witness to the mass incarceration of Japanese Americans during the war. Links and Resources:Pictures of Belonging: Japanese American National MuseumPictures of Belonging: Smithsonian American Art MuseumCitizen 13660 - a short film from the National Park ServiceSincerely, Miné Okubo - a short biography from the Japanese American National MuseumFurther Reading: Citizen 13360 by Miné OkuboMiné Okubo: Following Her Own Road by Greg Robinson Peaceful Painter: Memoirs of an Issei Woman Artist by Hisako HibiThe Other American Moderns: Matsura, Ishigaki, Nora, Hayakawa by ShiPu WangCredits: Director: Andrea KalinProducers: Andrea Kalin, David A. Taylor, James MirabelloEditor: Amy YoungFeaturing music from Pond5Produced with support from the National Endowment for the Humanities, Florida Humanities, Virginia Humanities, Wisconsin Humanities, California Humanities and Humanities Nebraska. For additional content, visit peoplesrecorder.info or follow us on social media: @peoplesrecorder Hosted on Acast. See acast.com/privacy for more information.

Join "Dance Talk” ® with Joanne Carey  and special guests: Duke Dang, Executive Director of Works & Process and Alison Manning, Co-Executive Director of Harkness Dance Center.In this episode of "Dance Talk” ®, host Joanne Carey chats with Duke Dang, and Alison Manning, about their organizations upcoming collaboration: the Uptown Rhythm Dance Festival. The festival is a collaborative project aimed at celebrating various forms of rhythm dance. Alison and Duke discuss the festival's programming, community engagement, and the importance of inclusivity and accessibility in dance. The dialogue highlights the festival's diverse lineup of artists, workshops, and the significance of dance in fostering community connections. Get your tickets, you won't want to miss this festival!Alison Manning is the former Executive Director and Co-Producer of The Yard on Martha's Vineyard, from 2008-2020. She is founding Co-Artistic Director and Choreographer of DanceTheYard, The Yard's year-round professional dance company, with choreographic partner and company Co-Artistic Director Jesse Keller Jason. Alison is a passionate Horton teacher and an avid tap and rhythm dancer and advocate. She discovered her love for the Horton technique as a scholarship student at Jacob's Pillow, working with the great Milton Myers, and has continued studying with mentors Mr. Myers, Kristina Berger, Karen Gayle and other lauded Horton Teachers through the years. She taught the technique on Faculty at The Yard each summer, and as a guest teaching artist at NYU Steinhardt School, Wesleyan Univeristy, Peridance Capezio Center, and STEPS on Broadway. In addition to teaching, Alison dances and performs with The Bang Group and has worked for The Peggy Spina Tap Company, Xodus Dance Collective, Kinodance company among others. She is the current President of the Marymount Manhattan College Dance Advisory Board as well as a member of the Adjunct Faculty. She graduated Magna Cum Laude from said institution with a BFA in Modern Dance and a Minor in Art History. Alison lives in New York City with her wife and four children and is honored to be shepherding the Harkness School of Dance during this exciting time at The 92nd Street Y, New York.https://www.92ny.org/Duke Dang is the executive director of Works & Process, a performing arts organization that champions and resources artists and their creative process from studio-to-stage by partnering with over a dozen residency centers across Massachusetts, New Jersey, and New York to provide fully-funded residencies and presents iteratively at the Guggenheim Museum, Lincoln Center, The New York Public Library for the Performing Arts, and SummerStage.  Works & Process was honored with a 2021 Dance Magazine Award and nominated in 2021 and 2022 for the APAP William Dawson Award for Programmatic Excellence and Sustained Achievement. Born at a UN refugee camp in the Philippines to Vietnamese parents seeking political asylum, Duke immigrated to California growing up with the assistance of Section 8 housing vouchers, food stamps, and attending Head Start. Prior to Works & Process, Duke worked at the J. Paul Getty Museum, Smithsonian American Art Museum, Glimmerglass Festival, and Sydney Theatre Company. He earned in BA in Art History from Boston University and MA in Performing Arts Administration from New York University.To Find out about Works & Process ⁠https://www.worksandprocess.org/ To get your tickets to Uptown Dance Festivalhttps://www.92ny.org/event/uptown-rhythm-dance-festival“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/...⁠ ⁠Follow Joanne on Instagram @westfieldschoolofdanceTune in. Follow. Like us. And Share.Please leave a review!“Dance Talk” ® with Joanne Carey"Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

What if the secret to better museums was … neuroscience? How can museums inspire human creativity? How much media should be in a gallery — or should there be any? How soon should you get feedback on your exhibition ideas? Can museums help us all “escape the algorithm”? What does knitting have to do with visitor satisfaction? In this episode, we'll learn some unexpected tricks of the trade from a renowned museum leader. Lynda Roscoe Hartigan (The Rose-Marie and Eijk van Otterloo Executive Director and CEO of the Peabody Essex Museum) discusses “Creating Effective Museum Experiences” with host Jonathan Alger (Managing Partner, C&G Partners | The Exhibition and Experience Design Studio). Along the way: standup comedy, Iris Apfel, and moon chairs.  Talking Points: 1. Embrace Human Creativity2. Design is Critical — Use Media Wisely3. Knit Experiences4. Escape the Algorithm5. Know Your Audience — Get Feedback Early6. Consider the NeuroscienceHow to Listen: Listen on Apple Podcasts: https://podcasts.apple.com/us/podcast/making-the-museum/id1674901311 Listen on Spotify: https://open.spotify.com/show/6oP4QJR7yxv7Rs7VqIpI1G Listen at Making the Museum, the Website: https://www.makingthemuseum.com/podcast Links to Every Podcast Service, via Transistor: https://makingthemuseum.transistor.fm/ Guest Bio: Lynda Roscoe Hartigan is The Rose-Marie and Eijk van Otterloo Executive Director and CEO of the Peabody Essex Museum. As a curator, scholar and museum executive, Lynda Roscoe Hartigan brings a wealth of knowledge and experience to PEM. During her time as Chief Curator at the Smithsonian American Art Museum, she led an internationally recognized acquisition initiative to build collections of works by Black, self-taught and modern and contemporary artists. In 2003, Lynda was appointed as PEM's first Chief Curator and in 2016 became Deputy Director. Overseeing the interpretation and installation of PEM's new wing, she was integral to developing and advancing the museum's innovative exhibition program, collection stewardship, fundraising, education, publishing, digital and global leadership initiatives. Most recently, she was Deputy Director for Collections and Research and Chief Innovation Officer at the Royal Ontario Museum, Canada's largest museum dedicated to art, culture and the sciences. Lynda has returned to PEM to become the museum's first woman director and to boldly lead the nation's oldest continually operating and ever-evolving museum forward.About Making the Museum: Making the Museum is hosted (podcast) and written (newsletter) by Jonathan Alger. MtM is a project of C&G Partners | The Exhibition and Experience Design Studio. Learn more about the creative work of C&G Partners:https://www.cgpartnersllc.com/ Links for This Episode: Lynda's Email:lynda_hartigan@pem.org Lynda on LinkedIn:https://www.linkedin.com/in/lynda-hartigan-762b475/ Lynda's Thesis:"Grandma Moses and the Implications of Memory,' in Grandma Moses in the 21st Century, Jane Kallir, ed., Art Services International, Alexandria, VA, 2001, pp. 64-79.https://www.amazon.com/Grandma-Moses-Century-Jane-Kallir/dp/0300089279Calder exhibition: https://www.pem.org/exhibitions/calder-and-abstraction-from-avant-garde-to-iconic Ansel Adams exhibition: https://www.pem.org/exhibitions/ansel-adams-at-the-waters-edge Escape the Algorithm, PEM's latest ad campaign:https://www.pem.org/blog/turning-heads-pems-chief-marketing-officer-gives-the-scoop-on-the-museums-new-brand-campaign Neuroscience initiative: https://www.pem.org/about-pem/pem-initiatives/neuroscience-initiative Art Pharmacy from Mass Cultural Council:https://www.artpharmacy.co/ FutureMuseum (PEM will be hosting museum leaders for this event on May 28 and 29, 2025):https://www.museumbooster.com/future-museum Links for Making the Museum, the Podcast: Contact Making the Museum:https://www.makingthemuseum.com/contact Host Jonathan Alger, Managing Partner of C&G Partners, on LinkedIn:https://www.linkedin.com/in/jonathanalger Email Jonathan Alger:alger@cgpartnersllc.com C&G Partners | The Exhibition and Experience Design Studio:https://www.cgpartnersllc.com/ Making the Museum, the Newsletter: Like the show? You might enjoy the newsletter. Making the Museum is also a free weekly professional development email for exhibition practitioners, museum leaders, and visitor experience professionals. (And newsletter subscribers are the first to hear about new episodes of this podcast.) Join hundreds of your peers with a one-minute read, three times a week. Invest in your career with a diverse, regular feed of planning and design insights, practical tips, and tested strategies — including thought-provoking approaches to technology, experience design, audience, budgeting, content, and project management. Subscribe to the newsletter:https://www.makingthemuseum.com/

self-described loner, Joel Philip Myers developed his skills in relative isolation from the Studio Glass movement. With works inspired by a vast array of topics ranging from his deep love of the Danish countryside to Dr. Zharkov, the artist avoided elaborate sculpture in favor of substantial vessels that are simple yet powerful. States Myers: “In 1964, on the occasion of an exhibition titled Designed for Production: The Craftsman's Approach, I wrote in an essay in Craft Horizons magazine: ‘My approach to glass, as it is to clay, is to allow the material an expression of its own. Press the material to the utmost, and it will suggest ideas and creative avenues to the responsive artist.' The statement was sincere and enthusiastic, but decidedly naïf. I never thought when I wrote it that it would be the one statement of mine that would continue to be repeatedly quoted, throughout my 46- year-long career, as my defining philosophy. I have no defining philosophy. I am a visual artist, not a philosopher. Thoughts and ideas and opinions do not constitute a philosophy, and my thoughts and ideas and opinions have evolved and matured and changed in the time that has passed since 1964.” He continues: “As an artist I like to think of myself as a visitor in a maze, trying to find a solution to a dizzying puzzle. As in a maze, I have, through blunders and exploration, arrived at solutions, and embraced the manifold possibilities that the material offers: plasticity, transparency, opacity, translucency. I am sensitive to the wonders of the visual world and inspired by the forms and colors of the natural world. My training as a designer has enabled me to understand and exploit organization and structure, adding a rational perspective to my intuitive, emotional self.” Myers earned his degree in advertising design from Parsons School of Design in 1954. He studied in Copenhagen, Denmark, before earning a B.F.A. and M.F.A. in ceramics from the New York State College of Ceramics at Alfred University in the early 1960s. In 1963, he was hired as design director at Blenko Glass Company in Milton, West Virginia. Captivated by the drama of this thriving glass factory, he learned glassblowing through observation and practice.  In 1970, Myers established the nascent glass department at Illinois State University in Normal, Illinois, where he served as Distinguished Professor of Art for 30 years until he retired from teaching in 1997. He is an Honorary Lifetime Member, 2012 Lifetime Achievement Award Winner and past President of the Glass Art Society, a Fellow of the American Crafts Council, and the recipient of a National Endowment for the Arts Fellowship. His work is represented in prominent museum collections around the world, including The Corning Museum of Glass, Corning, NY; The Art Institute of Chicago, Chicago, IL; the National Museum of American History, Smithsonian Institution, Washington, DC; the Smithsonian American Art Museum, Washington, D.C; The Museum of Decorative Arts, Prague; Hokkaido Museum of Modern Art, Japan; Musee des Arts Decoratifs, Palais du Louvre, Paris, France; and Musee de Design et d'Arts Appliques Contemporains, Lausanne, Switzerland, amongst others. Of his sculpture, Myers states: “My work is concerned with drawing, painting, playing with color and imagery on glass. I work with simple forms and concentrate on the surface enrichment. I prefer the spherical, three-dimensional surface to a flat one, because as I paint and draw on the glass, the glass form receives the drawing, adapts to its shape, distorts and expands it as it clothes and envelops itself in my drawing. I feel a communication with the material, and a reciprocation from my subconscious, as I continually search for new insights into my unknown self.” Enjoy this enlightening conversation with Myers, who at 91 has a near photographic memory of the events and developments that spurred the Studio Glass movement forward in its early days, as well as the ideas and processes of his personal work in glass – some of the most successful and collected of its day.  

Shows opening in Washington and Dublin this month explore quiltmaking by African American women. Ben Luke talks to Raina Lampkins-Fielder, chief curator for the Souls Grown Deep Foundation, and the organiser of the exhibition Kith & Kin: The Quilts of Gee's Bend at the Irish Museum of Modern Art (IMMA), about the history of quiltmaking in this small part of Alabama, and the growing recognition of its artistic importance. The Musée Picasso in Paris this week unveiled its exhibition “Degenerate” art: Modern art on trial under the Nazis, which looks back not just at the infamous 1937 exhibition in Munich but also the years-long campaign to attack modern art and artists in Germany in the 1930s and 1940s. We speak to the exhibition's co-curator, Johan Popelard. And this episode's Work of the Week marks the death last week of Mel Bochner, a leading figure in the development of conceptual art. We speak to his gallerist, Peter Freeman, who knew and worked with Bochner for more than 50 years. We look in particular detail at the 1969 work, 48" Standards (#1).Last chance: The Art Newspaper's book The Year Ahead 2025, an authoritative guide to the year's unmissable art exhibitions, museum openings and significant art events, is available to buy at theartnewspaper.com for £14.99 or the equivalent in your currency, until Sunday, 23 February. Buy it here. https://account.theartnewspaper.com/subscribe?sourcecode=year_ahead&utm_source=podcast&utm_campaign=theyearaheadKith & Kin: The Quilts of Gee's Bend, IMMA, the Irish Museum of Modern Art, Dublin, from 28 February-27 October; We Gather at the Edge: Black Women and Contemporary Quilts, Renwick Gallery, Smithsonian American Art Museum, Washington, DC, 21 February-22 June; Fabric of a Nation: American Quilt Stories, Frist Art Museum, Nashville, US, 27 June-12 October“Degenerate” art: Modern art on trial under the Nazis, Musée Picasso, Paris, until 25 May. Hosted on Acast. See acast.com/privacy for more information.

Gwen Manthey is a paintings conservator at the Smithsonian American Art Museum and has worked on some of Bannister's paintings.

About Debra Rapoport is a New York style icon. She's a textile designer, visual artist, and creator of high-end fashion using found objects. She's been featured in three style books and Ari Seth Cohen's Advanced Style movie. You can find that on Netflix.  Her work has been exhibited in the Metropolitan Museum of Art, the Philadelphia Museum of Art, Smithsonian American Art Museum, and many more. After receiving her master's degree at the University of California at Berkeley, she taught at various universities and has given workshops on how to turn recycled materials into creative and beautiful hats, handbags, and necklaces.  Debra is such an inspiration and we are thrilled to share her story here on She DESIGNS. In this episode, Debra Rapoport, a 79-year-old artist and maker, shares her journey of following her passion and creating a life and business that align with her values. From a young age, Debra embraced play and creativity, which led her to study textile design and eventually become a maker. She emphasizes the importance of trusting your gut and listening to your inner truth. Debra's lifestyle values of health, healing, and personal expression are reflected in her work. She credits her mother, grandmother, and supportive mentors for inspiring and encouraging her along the way. Takeaways Embrace play and creativity from a young age. Trust your gut and listen to your inner truth. Align your lifestyle values with your work. Surround yourself with supportive mentors and a community. Focus on health, healing, and personal expression. Shownotes 00:00 Introduction to She DESIGNS Podcast 01:30 Debra Rapoport: A Creative Journey 10:23 The Importance of Intuition and Play 12:22 Navigating Challenges and Trusting the Process 18:29 The Role of Networking and Community 25:37 Embracing Life's Simplicity and Playfulness 26:37 Final Thoughts and Advice for Listeners   Where to find Debra INSTAGRAM //  @debrarapoport Join our community! Follow this podcast and share with a friend! In the world of podcasts, reviews are everything! Please rate and review this episode on your favorite platform.  Follow us on Instagram and let us know what you'd like for us to cover and any nominations for guests   Live your life by design. 

"Dance Talk” ® with Joanne Carey and special guest Duke DangIn this episode of "Dance Talk” ® , host Joanne Carey speaks with Duke Dang, the executive director of Works & Process. They explore Duke's journey from a refugee camp to becoming a prominent figure in arts administration, emphasizing the importance of the creative process in the performing arts. Duke shares insights on how arts can impact personal growth, the significance of internships, and the mission of Works and Process in supporting artists. The conversation highlights the need for community engagement and the transformative power of dance. In this conversation, Joanne Carey and Duke explore the profound emotional impact of dance, the importance of feeling and embodying movement, and the celebration of street dance traditions. They discuss the significance of intergenerational connections in dance, innovative collaborations, and the upcoming festivals and events that highlight these themes. The conversation emphasizes the iterative nature of live performance and the communal aspect of dance, inviting audiences to engage and participate. Duke Dang is the executive director of Works & Process, a performing arts organization that champions and resources artists and their creative process from studio-to-stage by partnering with over a dozen residency centers across Massachusetts, New Jersey, and New York to provide fully-funded residencies and presents iteratively at the Guggenheim Museum, Lincoln Center, The New York Public Library for the Performing Arts, and SummerStage.  Under Duke's leadership, Works & Process pioneered the bubble residency model in summer 2020, which was captured in the NY-Emmy nominated docuseries Isolation to Creation, and broadcast on PBS and ALL ARTS. Works & Process was honored with a 2021 Dance Magazine Award and nominated in 2021 and 2022 for the APAP William Dawson Award for Programmatic Excellence and Sustained Achievement. Multiple Works & Process commissions including LaTasha Barnes' The Jazz Continuum, Les Ballet Afrik – New York Is Burning by Omari Wiles, and More Forever by Caleb Teicher and Conrad Tao have been honored with Bessie Awards. Born at a UN refugee camp in the Philippines to Vietnamese parents seeking political asylum, Duke immigrated to California growing up with the assistance of Section 8 housing vouchers, food stamps, and attending Head Start. Prior to Works & Process, where he started as a paid college intern, Duke worked at the J. Paul Getty Museum, Smithsonian American Art Museum, Glimmerglass Festival, and Sydney Theatre Company. In 2012, with his husband, he helped founded the Hudson Valley Dance Festival with Dancers Responding to AIDS which has raised over $1.3 million. He earned in BA in Art History from Boston University and MA in Performing Arts Administration from New York University. To Find out about Works & Process https://www.worksandprocess.org/ Upcoming Festival Jan 9-13 “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠⁠⁠⁠ ⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠ Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share.   Please leave us review about our podcast!   “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

William Wegman is a beloved American artist known throughout the world for photographs and videos that feature his Weimaraner dogs in a variety of costumes and poses. His work is held in the permanent collections of major museums, including the Museum of Modern Art, Whitney Museum of American Art and Smithsonian American Art Museum. He is interviewed on stage by WAMC's Joe Donahue discussing his creative inspiration, craft and career. This was recorded on Tuesday February 27th, 2024.

This episode's guests, co-curators Karen Lemmey and Tobias Wofford, join us from the Smithsonian American Art Museum in Washington, D.C., as they talk about the exhibition The Shape of Power: Stories of Race and American Sculpture, which opened in November 2024. They talk about the origin of the show, a number of the works on view and why shows like this are so vital. The exhibition will also be featured in the January/February 2025 issue of American Fine Art Magazine, available at americanfineartmagazine.com. 

Edmonia Lewis was the first sculptor of African American and Native American (Mississauga) descent to achieve international fame. Her 3,000-pound masterwork, “The Death of Cleopatra,” commemorated another powerful woman who broke with convention… and then the sculpture disappeared. On this return episode of Sidedoor, we find them both. You can see "The Death of Cleopatra" at the Smithsonian American Art Museum. The new exhibition, The Shape of Power: Stories of Race and American Sculpture features 82 artworks created between 1792 and 2023, including two by Edmonia Lewis. Guests:Marilyn Richardson, art historian and independent curator Kirsten Pai Buick, professor of art historian at the University of New Mexico and author of Child of the Fire: Mary Edmonia Lewis and the Problem of Art History's Black and Indian SubjectKaren Lemmey, the Lucy S. Reign Curator of Sculpture at the Smithsonian American Art Museum 

In this episode of Platemark, I talk with Judith Solodkin, a renowned master printer and founder of SOLO Impression. Judith shares her extensive experience, from being the first woman to graduate from the Tamarind Master Printer program to her unique work in digital embroidery. She reflects on her collaborations with notable artists like Louise Bourgeois and Sonya Clark, and her teaching role at various art institutions. We talk bout Judith's passion for wearable art, specifically her creation of one-of-a-kind hats. Additionally, we discuss the technical and collaborative aspects of printmaking and embroidery, as well as the importance of documenting and preserving artistic processes and works. Cover image: Grace Graupe-Pillard USEFUL LINKS https://www.millinersguild.org/ https://www.soloimpression.com/ @judithsolodkin Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Check out Platemark on Instagram Join our Platemark group on Facebook June Wayne. Near Miss, 1996. Lithograph. 26 x 32 ½ in. Printed and published by SOLO Impression, Bronx. Joyce Kozloff. Now, Voyager I, 2007. Color lithograph with glitter. 31 ½ x 31 ½ in. Printed and published by SOLO Impression, Bronx. James Rosenquist (American, 1933–2017). Paper Clip, 1974. Ten-color lithograph. 36 ½ x 69 in. (92.7 x 175.3 cm.). Published and printed by Petersburg Press. Nancy Spero (American, 1926–2009). Torture in Chile, from the A. I. R. Print Portfolio, 1975. Lithograph. Sheet and image: 22 1⁄4 x 30 in. (56.5 x 76.2 cm.). Smithsonian American Art Museum, Washington, D.C. Dotty Attie. The Forbidden Room, 1998. Lithograph. Sheet: 18 x 24 in. Printed and published by SOLO Impression, Bronx. Howardena Pindell. Peters Squares Waterfall Johnson Vermont, 1986. Color woodcut with collage on various Asian papers. 26 1/2 x 36 in. Printed and published by SOLO Impression, Bronx. Lois Dodd. Mirror, 1975. Stone lithograph. 15 x 18 in. Printed and published by SOLO Impression, Bronx. Alice Neel. Portrait of Judith Solodkin, 1978. Lithograph. 30 x 22 in. Printed and published by SOLO Impression, Bronx. Philip Pearlstein (American, 1924–2022). Iron Bed and Plastic Chair, 1999. Oil on canvas. 59 ½ x 39 1/2 in. Judith Solodkin hats at Winterthur Museum, Garden & Library, Winterthur, DE. Judith Solodkin in one of her own creations. Louise Bourgeois (American, born France, 1911–2010). The Song of the Blacks and the Blues, 1996. Lithograph and woodcut with hand additions. Sheet: 21 ¾ x 96 in (55.3 x 243.8 cm.). Printed and published by SOLO Impression. Museum of Modern Art, NY. Louise Bourgeois (American, born France, 1911–2010). Ode à l'Oubli, 2004. Fabric illustrated book with 35 compositions: 30 fabric collages and 5 lithographs (including cover). Overall: 10 5/8 x 13 3/8 x 3 3/16 in. (27 x 34 x 8.2 cm.). Printed by SOLO Impression, published by Peter Blum Edition. Museum of Modern Art, NY. Elaine Reichek (American, born 1943). Collections for Collectors: 2006 Spring, 2006. Portfolio of 17 digital embroideries on linen. Each: 15 ½ x 12 ½ in. (39.4 x 31.8 cm.). Printed and published by SOLO Impression. Ghada Amer and Reza Farkondeh. The Perfumed Garden, 2006. Lithograph with digitized sewing. 20 ½ x 24 in. Printed and published by SOLO Impression, Bronx. Allan McCollum. The Shapes Project: Threaded Shapes Coll No.21–2883, 2005/2009–10. 144 framed ovals with digitized embroidered shapes on cotton fabric (each shape is unique). Each frame: 11 1/4 x 9 1/4 in. Fabricated by Judith Solodkin, Theodore Yemc, and Rodney Doyle; published by SOLO Impression, Bronx. Kent Henricksen (American, born 1974). White Ghost, Black Ghost, 2012. Two digital embroideries. Each: 8 ½ x 5 in. (21.6 x 12.7 cm.). Printed and published by SOLO Impression. Sonya Clark. The Huest Eye, 2023–24. Embroidered thread on Rives BFK paper. 36 x 24 in. Printed by SOLO Impression, Bronx; published by Goya Contemporary/Goya-Girl Press, Baltimore. Liliana Porter. Red Girl, 2006. Digital embroidery and thread on paper. 22 x 17 ½  in. Printed and published by SOLO Impression, Bronx. Howard Hodgkin (British, 1932–2017). Moonlight, 1980. Lithograph on two sheets. 44 x 55 ¼ in. (111.8 x 140.3 cm). Printed by SOLO Impression, published by Bernard Jacobson Ltd. National Gallery of Australia, Canberra. Michael Mazur. Wakeby Night, 1986. Lithograph with chine collé, woodcut, and monoprint. 66 x 30 in. Printed and published by SOLO Impression, Bronx. Françoise Gilot (French, 1921–2023). Music in Senegal, 2017. Color lithograph. 18 x 24 in. Printed and published by SOLO Impression. Robert Kushner (American, born 1949). Nocturne, 1988. Color lithograph. 25 x 37 in. Printed and published by SOLO Impression. Joe Zucker (American, born 1941–2024). The Awful Heat Wastes Man and Beast No. 4, 1985. Lithograph, silver foil, and varnish. 36 x 48 in. Printed and published by SOLO Impression. Christian Marclay. Untitled, 1991. Unique surface print. 39 x 39 in. Printed and published by SOLO Impression, Bronx. John Hejduk. The Flight, from the series Zenobia, 1990. Lithograph. 25 x 17 in. Printed and published by SOLO Impression, Bronx. John Torreano. Emerald, from the series Oxygems, 1989. Color woodcut with embossing. 30 x 36 in. Printed and published by SOLO Impression, Bronx. Judy Chicago (American, born 1939). What if Women Ruled The World?, 2022. Inket print on fabric with digital embroidery. 33 1/2 × 24 in. (85.1 × 61 cm.). Printed and published by SOLO Impression. Betye Saar. Blow Top Blues, The Fire Next Time, 1998. Color lithograph, hand coloring, photo electric collage. 27 x 22½ in. Printed and published by SOLO Impression, Bronx. Beryl Korot. Weaver's Notation – Variation 1,2013. Embroidery and inkjet print. 21 ¼ x 21 ¼ in. Printed and published by SOLO Impression, Bronx. Artist Ivan Forde in his photo-sensitive paper jacket and Powerhouse Arts Printshop director Luther Davis at IFPDA Print Fair, October 2023. Louise Bourgeois (American, born France, 1911–2010). Henriette, 1998. Lithograph and digital print. Sheet: 45½ x 31½ in. Printed and published by SOLO Impression. Museum of Modern Art, NY.    

https://www.myheraldreview.com/news/former-douglas-artist-to-have-artwork-on-display-at-the-smithsonian-american-art-museum-in/article_bb852b6c-9d2a-11ef-8306-4b3f5bc17c1a.html  Today - we're talking about Jenea Sanchez Uribe, a local artist who's taking her work to the Smithsonian American Art Museum in Washington, D.C.Support the show: https://www.myheraldreview.com/site/forms/subscription_services/See omnystudio.com/listener for privacy information.

Shortly after the US election on 5 November, the Smithsonian American Art Museum in Washington opens The Shape of Power: Stories of Race and American Sculpture, a radical new perspective on the history of the discipline from 1792 to now. Ahead of its opening, Ben Luke speaks to Karen Lemmey, a curator of sculpture at the Smithsonian American Art Museum and co-curator of the exhibition. In Warsaw, the Museum of Modern Art—a project 20 years in the making—has partially opened. We speak to its director, Joanna Mytkowska, about the long road to the unveiling and the upheavals in Polish politics along the way. And this episode's Work of the Week is The Lamentation over the Dead Christ (early 1620s) by Jusepe de Ribera. It features in the first survey of the Spanish-born Baroque artist ever staged in France, at the Petit Palais in Paris. The museum's director, Annick Lemoine, tells us more.The Shape of Power: Stories of Race and American Sculpture, Smithsonian American Art Museum, Washington, D.C., 8 November-14 September 2025.The Museum of Modern Art, Warsaw is open now; its full programme will be unveiled in February 2025.Ribera: Shadows and Light, Petit Palais, Paris, until 23 February 2025.The Art Newspaper subscription offer: get three months for just £1/$1/€1. Choose between our print and digital or digital-only subscriptions. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

Katie LeDoux, founder and executive director of Sunflower Grant Writers, joins the Agency for Change podcast to unlock the secrets of successful grant writing. Katie shares her incredible journey from her beginnings at the Smithsonian American Art Museum to establishing her own company in Omaha, right in the midst of a global pandemic. We explore the trials she faced and the powerful role that networking played in overcoming them. Crafting a grant submission is an art, and we discuss how to make them clear and compelling. Welcome to the Agency for Change podcast.

Books: Glimcher, Mildred, ed. Adventures in Art: 40 Years at Pace. Milan: Leonardo International, 2001. http://nevelson.org/adventures-in-art Goldwater, Robert. What is Modern Art? The Museum of Modern Art, New York, 1969. http://nevelson.org/what-is-modern-art Goodrich, Lloyd and John I.H. Baur. American Art of Our Century. New York: Frederick A. Praeger Publishing; Whitney Museum of American Art, 1961. http://nevelson.org/american-art-of-our-century Grosenick, Uta, ed. Women Artists: In the 20th and 21st Century. Cologne: Taschen, 2003, pp. 141, 142; 2005, pp. 232-237. http://nevelson.org/women-artists-20th-21st-century Guerrero, Pedro E. Pedro E. Guerrero: A Photographer's Journey. Princeton Architectural Press, New York, 2007. http://nevelson.org/photographers-journey Hammacher, A.M. The Evolution of Modern Sculpture. New York: Harry N. Abrams, Inc. http://nevelson.org/evolution-of-modern-sculpture Hammacher, A.M. Modern Sculpture: Tradition and Innovation. New York: Harry N. Abrams Inc., 1988. http://nevelson.org/modern-sculpture-tradition-innovation Hedlund, Ann Lane. Gloria F. Ross & Modern Tapestry. New Haven, CT: Yale University Press, 2010. http://nevelson.org/gloria-ross-modern-tapestry Hyman, Paula E. and Deborah Dash Moore, ed. Jewish Women in America: An Historical Encyclopedia, Volume II, M-Z. New York and London: Routledge, 1997. http://nevelson.org/jewish-women-in-america Janis, Harriet and Blesh, Rudi. Collage: Personalities, Concepts, Techniques. Philadelphia, Pennsylvania: Chilton Co., 1962. http://nevelson.org/collage-personalities-concepts-techniques Kramer, Hilton. Revenge of the Philistines: Art and Culture 1972 – 1984. Free Press, 1985. http://nevelson.org/revenge-of-the-philistines Lipman, Jean. Nevelson's World. Hudson Hills Press, NY, 1983. http://nevelson.org/nevelsons-world Lippincott, Jonathan D. Large Scale: Fabricating Sculpture in the 1960s and 1970s. Princeton Architectural Press, New York, NY, 2010. http://nevelson.org/large-scale-fabricating-sculpture Lisle, Laurie. Louise Nevelson: A Passionate Life. New York: Summit Books, 1990. http://nevelson.org/a-passionate-life MacKown, Diana. Dawns + Dusks. New York: Charles Scribner's Sons, 1976. http://nevelson.org/dawns-and-dusks Marshall, Richard. 50 New York Artists. Chronicle Books, 1986. http://nevelson.org/50-new-york-artists Matsumoto, Michiko. Portraits: Women Artists. Tokyo: Kawade Shobo Shinsha, 1995. http://nevelson.org/portraits-women-artists Miller, Dorothy C., ed. Sixteen Americans. New York: The Museum of Modern Art, 1959. http://nevelson.org/sixteen-americans Nevelson, Louise and Edith Sitwell. Nevelson: Façade—Twelve Original Serigraphs in Homage to Edith Sitwell. New York: The Pace Gallery and Harry N. Abrams, Inc., 1966. http://nevelson.org/facade Nevelson: Recent Wood Sculpture. New York: The Pace Gallery, 1969. http://nevelson.org/recent-wood-sculpture Bryan-Wilson, Julia. Louise Nevelson's Sculpture: Drag, Color, Join, Face. Yale University Press, 2023. https://yalebooks.yale.edu/book/9780300222633/louise-nevelsons-sculpture/ Wilson, Laurie. Louise Nevelson: Light and Shadow. Thames & Hudson, 2016. http://thamesandhudson.com/books/louise-nevelson-light-and-shadow Articles and Essays: "Louise Nevelson Sculptures, Bio, Ideas." TheArtStory. https://www.theartstory.org/artist/nevelson-louise/ "A New Louise Nevelson Biography Picks Apart the Artist's Contradictions." Hyperallergic. https://hyperallergic.com/ "Louise Nevelson: Inventing Herself as a Modern Artist." MoMA. https://www.moma.org/magazine/articles/187 "Sculpture in the Expanded Field: Louise Nevelson." Art Journal. https://www.artjournal.com/sculpture-expanded-field-louise-nevelson/ "Louise Nevelson's Monumental Work." Smithsonian American Art Museum. https://americanart.si.edu/exhibitions/nevelson "Louise Nevelson's Public Art." Art in America. https://www.artnews.com/art-in-america/features/louise-nevelson-public-art-1234597218/ "Louise Nevelson: Dark Light." The Guardian. https://www.theguardian.com/artanddesign/2017/jun/10/louise-nevelson-sculpture "The Essential Louise Nevelson." Sculpture Magazine. https://sculpturemagazine.art/the-essential-louise-nevelson/ "Louise Nevelson's Legacy." ArtForum. https://www.artforum.com/print/202104/louise-nevelson-s-legacy-85253 Wson: The Woman in Black." Tate. https://www.tate.org.uk/art/artists/louise-nevelson-1691Episode Notes Websties Louise Nevelson Foundation https://www.louisenevelsonfoundation.org Nevelson.org http://nevelson.org TheArtStory: Louise Nevelson https://www.theartstory.org/artist/nevelson-louise/ MoMA: Louise Nevelson https://www.moma.org/artists/4248 Smithsonian American Art Museum https://americanart.si.edu/artist/louise-nevelson-3541 Tate: Louise Nevelson https://www.tate.org.uk/art/artists/louise-nevelson-1691 Guggenheim: Louise Nevelson https://www.guggenheim.org/artwork/artist/louise-nevelson Whitney Museum of American Art https://whitney.org/artists/939 The Pace Gallery: Louise Nevelson https://www.pacegallery.com/artists/louise-nevelson/ The Guardian: Louise Nevelson https://www.theguardian.com/artanddesign/2017/jun/10/louise-nevelson-sculpture ArtForum: Louise Nevelson's Legacy https://www.artforum.com/print/202104/louise-nevelson-s-legacy-85253 Sculpture Magazine: The Essential Louise Nevelson https://sculpturemagazine.art/the-essential-louise-nevelson/ Hyperallergic: A New Louise Nevelson Biography https://hyperallergic.com/ Yale University Press: Louise Nevelson's Sculpture https://yalebooks.yale.edu/book/9780300222633/louise-nevelsons-sculpture/ Art in America: Louise Nevelson's Public Art https://www.artnews.com/art-in-america/features/louise-nevelson-public-art-1234597218/ The Great Women Artists Podcast https://podcasts.apple.com/us/podcast/the-great-women-artists/id1436644141 The Sculptor's Funeral: Louise Nevelson https://thesculptorsfuneral.com/podcast-episodes/louise-nevelson ArtUK: Louise Nevelson https://www.artuk.org/discover/stories/art-matters-podcast-louise-nevelson ArtNet: Louise Nevelson https://www.artnet.com/artists/louise-nevelson/ National Museum of Women in the Arts https://nmwa.org/art/artists/louise-nevelson/ 4o Find out more at https://three-minute-modernist.pinecast.co

Kristina Logan makes unique and complex beads in intricate patterns whose sometimes knobby forms recall the remarkable eye beads made in ancient China. Yet Logan's style is purely contemporary, reflected in work that stands out for its originality, sophistication, and innovation. She is not only interested in beads as body adornment but also as decorative elements for boxes, candlesticks, goblets and teapots. Logan states: “Beads are part of my lifelong fascination with art and ornamentation. Glass beads form a historical thread, connecting people and cultures throughout our history.” In 2002, Logan was one of only four artists selected for exhibition in the Smithsonian American Art Museum's Renwick Gallery Invitational Four Discoveries in Craft. “Logan's beads exist in their own right as art… ,” writes Kenneth Trapp, Curator-in-Charge at the Renwick Gallery.  Articles about Logan's work have appeared in numerous publications including ORNAMENT magazine, GLASS magazine, Beadwork magazine, Bead & Button magazine, Lapidary Journal, and La Revue de la Céramique et du Verre. Her work has been collected by the Smithsonian Museum of American Art, Renwick Gallery, The Peabody Essex Museum in Salem, Massachusetts, the Corning Museum of Glass, the Museum of Fine Arts, Boston, and the Musée du Verre de Sars-Poteries, France. The artist served as president of the International Society of Glass Beadmakers from 1996 to 1998. Logan's work and desire to educate has been an inspiration for many glass beadmakers throughout the world. She travels extensively throughout the United States and Europe teaching workshops and lecturing on contemporary glass beads and jewelry at places such as The Studio at the Corning Museum of Glass, UrbanGlass, Haystack Mountain School of Crafts, Penland School of Craft, Carlisle School of Glass Art, Millville, New Jersey, Musée-Atelier du Verre à Sars-Poteries in France, and Centro Studio Vetro and Abate Zanetti in Venice, Italy. The Corning Museum of Glass produced a DVD video in 2009 of Logan's flamework beadmaking as part of their Master Class Series. An excerpt and full version of the video is available on YouTube and on Logan's website. https://www.kristinalogan.com/videos Having taught at The Studio of the Corning Museum of Glass earlier this year, Logan is now focusing on several projects that have been incubating over the years, including casting small vessels and encrusting them with beads and metal – some that stand alone individually and also as a group of 12 vessels that represent a personal calendar or living reliquary. She also continues working on a new collection of beads centric necklaces. And most importantly, Logan is documenting more of her work on YouTube. She says: “I would like to document with videos more of what I do. I am not ready to teach online or offer specific tutorials, but I would like to use YouTube as a way to share footage from my studio. I am thinking about this as an extension of my creative process–I love being behind a camera. I love being a maker, and I have been so fortunate to learn from others over the years. I want to be part of what I see as a cycle of learning and giving back. As I age, I also think about how I would like to document what I do for my kids and future artists.   “I have been fortunate enough to have made a living at what I do, and I would like to be honest about how I have done that.”  

Well, we've reached the end of our brief tour of the Smithsonian American Art Museum! I hope you've enjoyed it. It was a lot of fun getting to share this unique place with you and introduce you to some artists you might not have heard of.  I'll tell you about the two-for-one experience of visiting the museum and its hidden gems. And I have...thoughts...about the stories it tells. SHOW NOTES (TRANSCRIPT BELOW) “A Long Look” themes are "Easy" by Ron Gelinas https://youtu.be/2QGe6skVzSs and “At the Cafe with You” by Onion All Stars https://pixabay.com/users/onion_all_stars-33331904/ Smithsonian American Art Museum https://americanart.si.edu/ Luce Foundation Center for American Art https://americanart.si.edu/visit/saam/luce Lunder Conservation Center https://americanart.si.edu/art/conservation National Portrait Gallery https://npg.si.edu/ Transcript available at https://alonglookpodcast.com/american-art-finale

Episode No. 663 features artist Jeremy Frey and curator Sarah Humphreville. The Portland Museum of Art is presenting "Jeremy Frey: Woven," a twenty-year survey of Frey's basketry and printmaking. The exhibition features more than fifty baskets made from natural materials such as black ash and sweetgrass, as well as prints and video. The exhibition is in Maine through September 15, when it will travel to the Art Institute of Chicago. It was curated by Ramey Mize and Jaime DeSimone. The excellent catalogue was published by Rizzoli Electa in association with the PMA. Amazon and Bookshop offer it for $35-46. In 2011, Frey became the first basket-maker to win Best of Show at the Santa Fe Indian Market, in 2011, a feat he repeated in 2014. His work has been included in exhibitions at institutions such as The Renwick Gallery of the Smithsonian American Art Museum, Washington, and the deCordova Sculpture Park and Museum, Lincoln, Mass. Frey, a seventh-generation Passamaquoddy basket-maker, makes his baskets from ash trees, which are threatened by an invasive species called the emerald ash borer. The exhibition also presents this threat to Wabanaki cultural traditions and northeastern forests. Humphreville is the curator of "Eastman Johnson and Maine," at the Colby Museum of Art at Colby College. The show celebrates the bicentennial of Johnson's birth with a presentation of works Johnson made in Maine, his home state. It is accompanied by a gallery of works made by Johnson's peers. "Johnson and Maine" is on view through December 8. Instagram: Jeremy Frey, Sarah Humphreville, Tyler Green.

Highlights today include: AIA Tour: Lighting at the Smithsonian American Art Museum, Pharos and Lutron Expand Joint Integration Capabilities, Casambi Now Taking Orders for Salvador, 2024 Lumen Awards Gala is This Week, Get your Tickets Now.

Lonnie Holley and Aleesa Pitchamarn Alexander in conversation at the Auburn Forum for Southern Art and Culture, a symposium organized by The Jule Collins Smith Museum of Fine Art at Auburn University on February 3, 2024. Dr. Aleesa Pitchamarn Alexander is curator of the exhibition "Black Codes: Art and Post-Civil Rights Alabama" on view January 23 through July 7, 2024 at The Jule Collins Smith Museum of Fine Art at Auburn University, featuring the work of Lonnie Holley alongside work by Thornton Dial (1928 – 2016), Ronald Lockett (1965 – 1998) and Joe Minter (b. 1943). Dr. Alexander is the Halperin Associate Curator of Modern and Contemporary Art and Co-Director of the Asian American Art Initiative at the Cantor Arts Center, Stanford University. Lonnie Holley (b. Birmingham, AL, 1950) lives and works in Atlanta, Georgia. His work is represented in the permanent collections of the Los Angeles County Museum of Art, Los Angeles, CA; Metropolitan Museum of Art, New York, NY; National Gallery of Art, Washington, DC; Smithsonian American Art Museum, Washington, DC; Whitney Museum of American Art, New York, NY; among many others.

On this week's program, your host, Justin Mog, gathers around the hearth with Kaitlyn Tisdale, Director of Interpretation at Historic Locust Grove, 561 Blankenbaker Ln (http://locustgrove.org), and their upcoming Artist-in-Residence, Jerome Bias, a North Carolina-based furniture maker and cultural heritage practitioner specializing in reproducing 18th- and 19th-century Southern Furniture using period techniques. He has been making furniture since 2000 and was the joiner for Old Salem Museums & Gardens from 2011-2016. He has presented for the Renwick Gallery of the Smithsonian American Art Museum, Winterthur Museum, and the Museum of Early Southern Decorative Arts (MESDA). Currently, Jerome Bias reproduces historic furniture pieces from places throughout the country where his family was enslaved. Through his work, he hopes to explore the question: “How did his ancestors handle the trauma of enslavement and yet maintain the ability to have hope and love?” Historic Locust Grove is a nonprofit organization dedicated to preserving and promoting the history of Locust Grove, a national historic landmark and historic house museum in Louisville, Kentucky. The estate was once the home of George Rogers Clark, a key figure in American history, and his family. Historic Locust Grove, Inc. manages the site, offering guided tours, educational programs, and events to engage visitors with the estate's rich history and heritage. This summer, Locust Grove is hosting an Artist-in-Residence program (https://locustgrove.org/artist-in-residence/) in which Jerome Bias will be with us June 3rd-8th for a week of workshops, lectures, tours, and more. Join us for an unforgettable week-long exploration-themed “A Celebration of Food, Family, and Furniture.” Delve into the rich tapestry of Southern material culture and foodways as we honor traditions and creativity that have shaped America. Follow Jerome on a journey celebrating the intricate connections between food, family, and furnishings. From hands-on workshops and artisan demonstrations to enlightening talks and culinary experiences, there's something for everyone to enjoy. Discover the artistry behind traditional Southern furniture-making techniques, learn about the historical significance of heirloom recipes, and gain insight into the cultural influences that have shaped our culinary landscape. Whether you're a history enthusiast, a food connoisseur, or simply curious about the stories woven into the fabric of our past, this program offers a unique opportunity to connect with the heritage of the American South. Learn more and get your tickets at https://locust-grove-museum-store.myshopify.com/collections/tours As always, our feature is followed by your community action calendar for the week, so get your calendars out and get ready to take action for sustainability NOW! Sustainability Now! is hosted by Dr. Justin Mog and airs on Forward Radio, 106.5fm, WFMP-LP Louisville, every Monday at 6pm and repeats Tuesdays at 12am and 10am. Find us at http://forwardradio.org The music in this podcast is courtesy of the local band Appalatin and is used by permission. Explore their delightful music at http://appalatin.com

Writers can learn a lot about structuring a narrative from visual storytellers, and that's what Barbara explores in this episode of Writing for Immortality. She visited the Schoelkopf Gallery this spring to see "Enter Andrew Wyeth," a rare look at 25 works from 1939 to 1994 that examine the emotional resonance of Wyeth's work during his marriage to his wife, Betsy.  Wyeth's paintings are in permanent collections in most major American museums, including the Museum of Modern Art, the Smithsonian American Art Museum, and the Whitney Museum of American Art. The exhibition also provides unprecedented access to Andrew Wyeth's unframed drawings and watercolors. To make an appointment, please contact Alana Ricca at alana@schoelkopfgallery.com or Andrew Schoelkopf at andrew@schoelkopfgallery.com or call (212) 879-8815. Not in the market for a Wyeth original? Head over to Instagram to see art from the show. https://www.instagram.com/writing4immortality Additionally, Barbara has an update about Jane Goodrich, founder of Picsello and early guest of the pod, as well as news about future guest Kent Saunders! Jane launched her podcast, "Focus on Business," for photographers looking to grow their businesses. Listen here: https://open.spotify.com/show/0Cxe8X3TcgVowD6NgUoMfX Kent Sanders hosts "The Profitable Writer" podcast and invited Barbara to chat about ghostwriting--you can hear their conversation here: https://www.theprofitablewriter.com/blog/the-entrepreneurial-journey-of-a-full-time-writer-ghostwriter-barbara-richter and watch this space for Kent's interview! Want to write your life story? Head over to DIYBook and get started! https://www.diybook.us/

Tune in for the sister episode to last week. This case covers another woman sentenced to death via electric chair in New York, just like Martha Place. Meet Maria Barbella, who walked up to her lover, Dominico Cataldo, and slit his throat from ear to ear because he refused to marry her. However, there is much more to this story than the newspapers are willing to print. Grab a tea and travel back to 1895 New York with us.Content warning: This episode covers sexual assault Domestic Abuse Hotline: 1- 800-799-7233National Sexual Assault Hotline: 1-800-656-4673Tea of the Day: Iron GoddessTheme Music by Brad FrankSources:“A Desperate Girl's Crime.” (Saturday's New York Sun) Fall River Daily Evening News, Mon, Apr 29, 1895 ·Page 4, https://www.newspapers.com/image/590758305/“ ‘I have no tears left.'” The Boston Globe, Sat, Apr 27, 1895 Page 12, https://www.newspapers.com/image/430862206/“Maria's Crime Told in Court.” The Evening World, (New York) Thu, Jul 11, 1895 Page 1, https://www.newspapers.com/image/146735804/“Maria Barberi at the bar. On Trial for the Murder of Her Faithless Lover.” The Brooklyn Daily Eagle, Thu, Jul 11, 1895 Page 2, https://www.newspapers.com/image/50411135/“Goaded Into Killing Him.” The Evening World, (New York) Fri, Jul 12, 1895 Page 2, https://www.newspapers.com/image/146735821/“The Barberi Murder Trial.” The Brooklyn Daily Eagle, Fri, Jul 12, 1895 Page 1, https://www.newspapers.com/image/50411148/New-York Tribune, Sat, Jul 13, 1895 Page 11, https://www.newspapers.com/image/149994722/“A Kind Hearted Prosecutor.” The Brooklyn Daily Eagle, Sun, Jul 14, 1895 Page 5, https://www.newspapers.com/image/50411201/“Maria Barberi is Guilty.” The New York Times, Tue, Jul 16, 1895 Page 1, https://www.newspapers.com/image/20303295/“To Die on August 19th.” The Standard Union, Thu, Jul 18, 1895 Page 1, https://www.newspapers.com/image/542220914/“Murder Justified.” Boston Post, Sun, Jul 21, 1895 Page 2, https://www.newspapers.com/image/72251869/“Woman As Criminals.” The Daily Sentinel-Tribune, Sat, Aug 10, 1895 Page 2, https://www.newspapers.com/image/882581856/“Would Die for Her.” The Sentinel, Tue, Aug 13, 1895 Page 4, https://www.newspapers.com/image/343922149/The Boston Globe, Sun, Aug 18, 1895 Page 9, https://www.newspapers.com/image/431001031/“The Barberi Case.” The Buffalo Enquirer, Mon, Nov 16, 1896 Page 1, https://www.newspapers.com/image/325596108/“Pleased with jury.” The Boston Globe, Wed, Nov 18, 1896 Page 7, https://www.newspapers.com/image/430773455/Library of Congress, “Immigration and Relocation in U.S. History.” https://www.loc.gov/classroom-materials/immigration/italian/tenements-and-toil/Smithsonian American Art Museum, “Tenement Life.” https://americanexperience.si.edu/wp-content/uploads/2013/11/Tenement-Life_.pdf“Mary Livermore.” Boston National Historical Park, https://www.nps.gov/people/mary-livermore.htm“In Her Defense.” The Standard Union, Fri, Nov 20, 1896 Page 1, https://www.newspapers.com/image/542425165/“Maria Barberi's Family Tree.” Chicago Tribune, Sat, Nov 21, 1896 Page 4, https://www.newspapers.com/image/349857733/The Philadelphia Times, Sun, Nov 22, 1896 Page 2, https://www.newspapers.com/image/53387436/“Ill-Fated Ancestors.” The Boston Globe, Tue, Nov 24, 1896 Page 2, https://newspapers.com/image/430775593/“Maria Barberi's Story.” The Boston Globe, Wed, Nov 25, 1896 Page 4, https://www.newspapers.com/image/430776058/“Barberi Testifies.” Carbondale Daily News, Thu, Nov 26, 1896 Page 1, https://www.newspapers.com/image/638800630/“Experts Give Testimony.” The Standard Union, Thu, Dec 03, 1896 Page 3, https://newspapers.com/image/542424980/“Maria Barberi is Free.” Chicago Tribune, Fri, Dec 11, 1896 Page 5, https://www.newspapers.com/image/349883737/“Maria Barberi's Acquittal.” The Brooklyn Daily Eagle, Fri, Dec 11, 1896 Page 6, https://www.newspapers.com/image/50337240/“Maria Barberi Not Guilty.” The Times, Fri, Dec 11, 1896 Page 3, https://www.newspapers.com/image/79799997/“Maria Barber Lost?” The Daily Times, Fri, Dec 18, 1896 Page 1, https://www.newspapers.com/image/13040409/“Heroic Maria Barberi.” Intelligencer Journal, Thu, Dec 31, 1896 Page 6, https://www.newspapers.com/image/557171839/“Maria Barbella Married.” The New York Times, Thu, Nov 04, 1897 Page 10, https://www.newspapers.com/image/20443000/“To Mrs. Foster's Memory.”The New York Times, Tue, Feb 25, 1902 Page 5, https://www.newspapers.com/image/20394619/ People of the State of New York v Maria Barberi (Trial #53), In collection Criminal Trial Transcripts of New York County Collection (1883-1927), July 8 1895 (created), January 2015 (digitized), Lloyd Sealy Library, https://dc.lib.jjay.cuny.edu/index.php/Detail/Object/Show/object_id/3802

Episode Notes Kim, H. K., & Nam June Paik Art Center. (2008). Nam June Paik. Nam June Paik Art Center. https://njpac-en.ggcf.kr/exhibition/nam-june-paik/ Electronic Arts Intermix. (n.d.). Nam June Paik: Bakelite Robot. Electronic Arts Intermix. https://www.eai.org/titles/bakelite-robot Tate. (n.d.). Nam June Paik: Bakelite Robot (2002) – Artwork details. Tate. https://www.tate.org.uk/art/artworks/paik-bakelite-robot-t12764 Solomon R. Guggenheim Museum. (n.d.). Nam June Paik: Bakelite Robot (2002) – Exhibition Overview. Solomon R. Guggenheim Museum. https://www.guggenheim.org/exhibition/nam-june-paik Nam June Paik Estate. (n.d.). Bakelite Robot. Nam June Paik Estate. http://www.paikstudios.com/pages/bakelite-robot The Museum of Modern Art. (n.d.). Nam June Paik. The Museum of Modern Art. https://www.moma.org/artists/4471 Harvard Art Museums. (n.d.). Paik, Nam June. Harvard Art Museums. https://www.harvardartmuseums.org/collections/person/28226?person=28226 Centre Pompidou. (n.d.). Nam June Paik. Centre Pompidou. https://www.centrepompidou.fr/en/ressources/personne/c8Gyjk MoMA PS1. (n.d.). Nam June Paik: Becoming Robot. MoMA PS1. https://www.moma.org/calendar/exhibitions/4099 Smithsonian American Art Museum. (n.d.). Paik, Nam June. Smithsonian American Art Museum. https://americanart.si.edu/artist/nam-june-paik-3737 Find out more at https://three-minute-modernist.pinecast.co

Part two of our episode on Vinnie Ream covers the completion of her first major work, and the rest of her life, which was just as controversial as her early adulthood.  Research: “Andrew Johnson and Reconstruction.” National Parks Service. https://www.nps.gov/anjo/andrew-johnson-and-reconstruction.htm Britannica, The Editors of Encyclopaedia. "Vinnie Ream". Encyclopedia Britannica, 16 Nov. 2023, https://www.britannica.com/biography/Vinnie-Ream “The Case of Miss Vinnie Ream, The Latest National Disgrace.” The Daily Phoenix. June 12, 1868. https://www.newspapers.com/image/72225424/?terms=%22vinnie%20ream%22%20&match=1 “Clark Mills and the Jackson Equestrian Statue (1853–1856).” The Historic New Orleans Collection. https://www.hnoc.org/virtual/andrew-jackson/clark-mills-and-jackson-equestrian-statue-1853%E2%80%931856 Cooper, Edward S. “Vinnie Ream, a American Sculptor.” Academy Chicago Publishers. 2004. “Curious Developments in the House.” The Abingdon Virginian. June 5, 1868. https://www.newspapers.com/image/584634251/?terms=%22vinnie%20ream%22%20&match=1 “The Farragut Statue.” The Portland Daily Press. April 26, 1881. https://www.newspapers.com/image/875207459/?terms=%22Vinnie%20Ream%22%20&match=1 Fling, Sarah. “Philip Reed Enslaved Artisan in the President's Neighborhood.” White House Historical Association. Dec, 8, 2020. https://www.whitehousehistory.org/philip-reed Healy, George Peter Alexander. “Vinnie Ream.” Smithsonian American Art Museum. https://americanart.si.edu/artwork/vinnie-ream-10167 “A Homely Woman's Opinion of a Pretty One.” Leavenworth Times. Sept. 6, 1866. https://www.newspapers.com/image/380121072/?terms=vinnie%20ream&match=1 “Impeachment Trial of President Andrew Johnson, 1868.” United States Senate. https://www.senate.gov/about/powers-procedures/impeachment/impeachment-johnson.htm “The Lincoln Statue.” Chicago Tribune. Aug. 21, 1866. https://www.newspapers.com/image/349536265/?terms=%22vinnie%20ream%22%20&match=1 “Miss Ream's Statue.” The Delaware Gazette. Feb. 17, 1871. https://www.newspapers.com/image/329775503/?terms=%22Vinnie%20Ream%22%20&match=1 “Sequoyah Statue.” Architect of the Capitol. https://www.aoc.gov/explore-capitol-campus/art/sequoyah-statue Sherwood, Glenn V. “Labor of Love.” Sunshine Press Publications. 1997. “Who is Miss Vinnie Ream?” The Hartford Courant. Aug. 7, 1866. https://www.newspapers.com/image/369077872/?terms=vinnie%20ream&match=1 “Vinnie Ream.” Architect of the Capitol. https://www.aoc.gov/explore-capitol-campus/art/vinnie-ream “Vinnie Ream.” The Hancock Courier. Feb. 4, 1869. https://www.newspapers.com/image/665444405/?terms=%22vinnie%20ream%22%20&match=1 “Vinnie Ream.” The Portland Daily Press. Aug. 15, 1866. https://www.newspapers.com/image/875123827/?terms=%22vinnie%20ream%22%20&match=1 “Vinnie Ream, the Sculptress.” Times Union. May 16, 1871. https://www.newspapers.com/image/556158224/?terms=%22Vinnie%20Ream%22%20&match=1 “Vinnie Ream's Statue of Lincoln.” The Daily Kansas Tribune. June 11, 1869. https://www.newspapers.com/image/60526282/?terms=%22vinnie%20ream%22%20&match=1 “Vinnie Ream: The Truth of the Romance.” Kansas City Weekly Journal. Feb. 24, 1871. https://www.newspapers.com/image/1025356568/?terms=%22Vinnie%20Ream%22%20&match=1 See omnystudio.com/listener for privacy information.

Vinnie Ream managed became the first woman to be given an art commission by the U.S. Government when she was still a teenager. Part one covers the controversy that arose as she lobbied for that job. Research: “Andrew Johnson and Reconstruction.” National Parks Service. https://www.nps.gov/anjo/andrew-johnson-and-reconstruction.htm Britannica, The Editors of Encyclopaedia. "Vinnie Ream". Encyclopedia Britannica, 16 Nov. 2023, https://www.britannica.com/biography/Vinnie-Ream “The Case of Miss Vinnie Ream, The Latest National Disgrace.” The Daily Phoenix. June 12, 1868. https://www.newspapers.com/image/72225424/?terms=%22vinnie%20ream%22%20&match=1 “Clark Mills and the Jackson Equestrian Statue (1853–1856).” The Historic New Orleans Collection. https://www.hnoc.org/virtual/andrew-jackson/clark-mills-and-jackson-equestrian-statue-1853%E2%80%931856 Cooper, Edward S. “Vinnie Ream, a American Sculptor.” Academy Chicago Publishers. 2004. “Curious Developments in the House.” The Abingdon Virginian. June 5, 1868. https://www.newspapers.com/image/584634251/?terms=%22vinnie%20ream%22%20&match=1 “The Farragut Statue.” The Portland Daily Press. April 26, 1881. https://www.newspapers.com/image/875207459/?terms=%22Vinnie%20Ream%22%20&match=1 Fling, Sarah. “Philip Reed Enslaved Artisan in the President's Neighborhood.” White House Historical Association. Dec, 8, 2020. https://www.whitehousehistory.org/philip-reed Healy, George Peter Alexander. “Vinnie Ream.” Smithsonian American Art Museum. https://americanart.si.edu/artwork/vinnie-ream-10167 “A Homely Woman's Opinion of a Pretty One.” Leavenworth Times. Sept. 6, 1866. https://www.newspapers.com/image/380121072/?terms=vinnie%20ream&match=1 “Impeachment Trial of President Andrew Johnson, 1868.” United States Senate. https://www.senate.gov/about/powers-procedures/impeachment/impeachment-johnson.htm “The Lincoln Statue.” Chicago Tribune. Aug. 21, 1866. https://www.newspapers.com/image/349536265/?terms=%22vinnie%20ream%22%20&match=1 “Miss Ream's Statue.” The Delaware Gazette. Feb. 17, 1871. https://www.newspapers.com/image/329775503/?terms=%22Vinnie%20Ream%22%20&match=1 “Sequoyah Statue.” Architect of the Capitol. https://www.aoc.gov/explore-capitol-campus/art/sequoyah-statue Sherwood, Glenn V. “Labor of Love.” Sunshine Press Publications. 1997. “Who is Miss Vinnie Ream?” The Hartford Courant. Aug. 7, 1866. https://www.newspapers.com/image/369077872/?terms=vinnie%20ream&match=1 “Vinnie Ream.” Architect of the Capitol. https://www.aoc.gov/explore-capitol-campus/art/vinnie-ream “Vinnie Ream.” The Hancock Courier. Feb. 4, 1869. https://www.newspapers.com/image/665444405/?terms=%22vinnie%20ream%22%20&match=1 “Vinnie Ream.” The Portland Daily Press. Aug. 15, 1866. https://www.newspapers.com/image/875123827/?terms=%22vinnie%20ream%22%20&match=1 “Vinnie Ream, the Sculptress.” Times Union. May 16, 1871. https://www.newspapers.com/image/556158224/?terms=%22Vinnie%20Ream%22%20&match=1 “Vinnie Ream's Statue of Lincoln.” The Daily Kansas Tribune. June 11, 1869. https://www.newspapers.com/image/60526282/?terms=%22vinnie%20ream%22%20&match=1 “Vinnie Ream: The Truth of the Romance.” Kansas City Weekly Journal. Feb. 24, 1871. https://www.newspapers.com/image/1025356568/?terms=%22Vinnie%20Ream%22%20&match=1 See omnystudio.com/listener for privacy information.

This week we're replaying some of our finest episodes about some of the finest works ever created. In this episode from October 2021, the story of sculptor Edmonia Lewis. She was born in the 1840s to a Black father and a Chippewa mother, and became the first Native American and Black woman to become an acclaimed sculptor. Plus: the exhibit known as Little Canada features miniature versions of some of this big country's most famous cities, landmarks and attractions. ⁠Edmonia Lewis⁠ (Smithsonian American Art Museum)  ⁠Little Canada⁠ ⁠As a Patreon backer you'll turn each day's show into a work of art! --- Send in a voice message: https://podcasters.spotify.com/pod/show/coolweirdawesome/message Support this podcast: https://podcasters.spotify.com/pod/show/coolweirdawesome/support

I had a great chat with Matt last year, and I really saw the heart of the father in him! Matt's heart of love, along with his understanding of the kingdom, means that this podcast is gonna be epic!! Matt is an artist, internationally-known Christian speaker, and the best-selling author of 8 books who is passionate about helping artists thrive spiritually, artistically and in business. He is a mentor to artists around the world through his Created to Thrive Artist Mentoring Program and also hosts The Thriving Christian Artist Podcast. In 2009, God called Matt to "raise up an army of artists to reveal His glory all over the earth." As an artist, Matt's basketry work has been featured in many magazines, shows and exhibitions and is mostly commissioned by private clients for luxury mountain and coastal homes around the country. In 2011, Matt was recognized by the Smithsonian American Art Museum's Renwick Gallery as an American Artist Under 40 and in 2018 was recognized as one of the Best Artist Mentors in the country by Professional Artist Magazine. He continues to teach basket weaving classes both online and in person. http://matttommeymentoring.com/     Join our Group Mentorship Program: ► Royal Hybrids Understand The Truth About Your Purpose: ► Watch My FREE Purpose= IAM Training   Book A Free Discovery Call with Me ► iamjosephwilson.com ✅ Subscribe to FUSE LIFE on YouTube Follow us on social media ✅  Facebook   +   Instagram ►Purchase my Bestselling book "The NO B.S. GUIDE TO THE ABUNDANT LIFE" on Amazon NOW!  

Putting ordinary people in odd, unsettling surroundings was the specialty of Hughie Lee-Smith. In today's episode we look at his “Confrontation” from the Smithsonian American Art Museum.  We''ll find out how an encounter with Italian Surrealism and a forbidden childhood carnival forged a visual language he used to depict universal feelings of loneliness, separation, and alienation in post-war America. SHOW NOTES “A Long Look” themes are "Easy" by Ron Gelinas https://youtu.be/2QGe6skVzSs and “At the Cafe with You” by Onion All Stars https://pixabay.com/users/onion_all_stars-33331904/ Episode music: “Passing Fields” by Quantum Jazz Courtesy of Free music Archive (CC BY-SA) https://freemusicarchive.org/music/Quantum_Jazz/End_of_Line/05_-_Quantum_Jazz_-_Passing_Fields/ “Ghost Carousel” by LAURENT BUCZEK Courtesy of Pixabay https://pixabay.com/music/build-up-scenes-ghost-carousel-155303/ “Between Worlds” by Tobias Webster (CC-BY) http://dig.ccmixter.org/files/tobias_weber/56664 "Shades of Spring" Kevin MacLeod (incompetech.com) https://incompetech.com/music/royalty-free/music.html Licensed under Creative Commons: By Attribution 4.0 License https://creativecommons.org/licenses/by/4.0/ Artwork information  https://americanart.si.edu/artwork/confrontation-78130 Artist information Biography Hughie Lee-Smith by Leslie King-Hammond and Aiden Faust. San Francisco: Pomegranate, 2010. Hughie Lee-Smith papers, c 1890-2007, bulk 1931-1999. Archives of American Art, Smithsonian Institution. https://americanart.si.edu/artist/hughie-lee-smith-6317 https://en.wikipedia.org/wiki/Hughie_Lee-Smith https://www.nytimes.com/1988/12/04/nyregion/art-a-painter-finally-gets-his-due.html https://www.nytimes.com/1995/11/12/nyregion/art-review-a-painter-s-evolution-visual-and-political.html Transcript available at https://alonglookpodcast.com/confrontation

In her swan song as a host for The Three Bells, Criena Gehrke (Executive Director, Queensland Theatre) speaks with two leading figures in Calgary's arts and culture scene, Alex Sarian (President & CEO, Arts Commons) and Nicholas R. Bell (President & CEO, Glenbow Museum). The dynamic conversation covers plenty of ground: from the magic and warmth of Calgary's cultural scene to the personal and institutional responsibilities carried on the road to reconciliation with indigenous communities. The Three Bells podcast is produced by AEA Consulting for the Global Cultural Districts Network (GCDN). Sound mixing and theme music by Artwave Studio. ReferencesGlenbow: https://www.glenbow.org/Arts Commons: https://www.artscommons.ca/Studio Bell, home of the National Music Centre: https://www.studiobell.ca/Central Library: https://calgarylibrary.ca/Contemporary Calgary: https://www.contemporarycalgary.com/Arts Commons Transformation Project: https://www.contemporarycalgary.com/Wanda Dalla Costa: https://www.avenuecalgary.com/city-life/how-indigenous-architecture-is-shaping-the-future-of-arts-commons/LinkedInsAlex Sarian: https://www.linkedin.com/in/alexsarian/Nicholas Bell: https://www.linkedin.com/in/nicholas-r-bell-6157b673/Wanda Dalla Costa, AIA, FRAIC, LEED AP:https://www.linkedin.com/in/tawarc/Criena Gehrke: https://www.linkedin.com/in/criena-gehrke-783303106/***Alex Sarian BioFrom Madrid to Shanghai to New York City, Alex has worked with artists and arts organizations in fifteen countries spanning five continents. A Toronto native and fully bilingual, Alex was raised in Buenos Aires and moved to New York City in 2002, where he held senior executive roles at several arts institutions, including seven years at Lincoln Center for the Performing Arts. In January 2020, at the age of 36, Alex was appointed President & CEO of Arts Commons, becoming the youngest executive to oversee a major performing arts center in North America. In this role, he is responsible for the third largest arts center in Canada, home to six resident arts organizations, and over 200 community groups and commercial presenters. Occupying over 560,000 square feet in the downtown core of Canada's third most diverse city, the Arts Commons complex normally welcomes more than 600,000 visitors to its 2,000 events every year, and features rehearsal studios, production workshops, education spaces, art/media/sound galleries, restaurants, public community areas, and six performance venues—including the Jack Singer Concert Hall, noted by The New York Times as one of the best acoustic venues in North America.  Since beginning his tenure, Alex has led Arts Commons' successful response to the COVID-19 pandemic, including the development of free outdoor and digital programming, the creation of an Indigenous reconciliation strategy, an unprecedented investment in digital and accessibility infrastructure, and launched the single largest cultural infrastructure project in Canadian history—scheduled to break ground in 2024. Passionate about civic engagement, Alex volunteers on a number of international boards in the areas of education, philanthropy, economic development, advocacy and policy, and innovation.  Alex received undergraduate and graduate degrees from New York University, is a graduate of the Community Shift program at Western University's Ivey School of Business, and was an inaugural graduate of the Impact Program for Arts Leaders at the Stanford University Graduate School of Business.Nicholas Bell BioOriginally from Vancouver, Nicholas joined Glenbow in 2019 from his position as Senior Vice President for Curatorial Affairs at Mystic Seaport Museum in Mystic, Connecticut. Nicholas launched a formidable exhibitions program during his three years at the preeminent American maritime museum. He previously served as The Fleur and Charles Bresler Curator-in-Charge of the Smithsonian American Art Museum's Renwick Gallery in Washington, DC, where he led the Renwick's relaunch, increasing attendance from 150,000 annually to one million. In 2023, Nicholas was awarded the Queen Elizabeth II Platinum Jubilee Medal in recognition of his service to community. Nicholas is an author and editor of over ten books on art, museums, and contemporary culture and offers a proven background in spearheading change and successfully implementing strategic initiatives.

Art historian and curator Stephanie Stebich is the Margaret and Terry Stent Director of the Smithsonian American Art Museum. She was named director of the Smithsonian American Art Museum in January 2017. Stebich serves on the Smithsonian's Capital Board as well as the Smithsonian-London Strategic Advisory Board. In May 2018, she was named co-chair of the Smithsonian American Women's History Initiative. Before coming to Washington, D.C., Stebich was executive director of the Tacoma Art Museum for 12 years. Under her leadership, the museum underwent a major renovation that doubled its exhibition space, and secured major collection gifts, including the Haub Family Collection of Western American Art, 300 masterworks from the 1790s to the present by Charles Bird King, Thomas Moran, Frederick Remington, Georgia O'Keeffe and others. She was assistant director of the Minneapolis Institute of Arts from 2001 to 2004 and assistant director at the Cleveland Museum of Art from 1995 to 2001.She and Zuckerman discuss feeling at home in museums, taking risks, making a museum free, house favorites, why museums buy certain things, finding the optimal location for an artwork, having a broad definition of art to include craft, mentorship, how to get a job, speaking up while active listening, America as a hopeful experiment, artists as makers of hope!

This week, President Ryan sits down with Professor William Wylie, an internationally-renowned photographer whose work can be found in the permanent collections of the Metropolitan Museum of Art, National Gallery of Art, Smithsonian American Art Museum, and more. They discuss his early passion for rock climbing, his path through academia, and the unique nature of photography as an art form--especially Professor Wylie's philosophy of on "making" a photograph rather than taking it.

Art historian and curator Stephanie Stebich is the Margaret and Terry Stent Director of the Smithsonian American Art Museum. She was named director of the Smithsonian American Art Museum in January 2017. Stebich serves on the Smithsonian's Capital Board as well as the Smithsonian-London Strategic Advisory Board. In May 2018, she was named co-chair of the Smithsonian American Women's History Initiative. Before coming to Washington, D.C., Stebich was executive director of the Tacoma Art Museum for 12 years. Under her leadership, the museum underwent a major renovation that doubled its exhibition space, and secured major collection gifts, including the Haub Family Collection of Western American Art, 300 masterworks from the 1790s to the present by Charles Bird King, Thomas Moran, Frederick Remington, Georgia O'Keeffe and others. She was assistant director of the Minneapolis Institute of Arts from 2001 to 2004 and assistant director at the Cleveland Museum of Art from 1995 to 2001.She and Zuckerman discuss feeling at home in museums, taking risks, making a museum free, house favorites, why museums buy certain things, finding the optimal location for an artwork, having a broad definition of art to include craft, mentorship, how to get a job, speaking up while active listening, America as a hopeful experiment, artists as makers of hope!

Leading off 2024's series three episodes is s3e47 in which Platemark host Ann Shafer speaks with Adam McCoy, Senior Specialist in Fine Art, Rago Auctions. Adam has worked in various auction houses for many years, including Christies and Artsy. Ann relished the chance to pepper Adam with questions.   In the episode Adam and Ann talk about the business of the business including what to expect when you decide to sell something at auction, the vagaries of the market, the authentication process, the bidding process (by phone, online, or in person), the value of old school auction catalogues, and which of Picasso's prints holds the record price.   Edvard Munch (Norwegian, 1863–1944). Madonna, 1895. Lithograph. Image: 600 x 440 mm.; sheet: 640 x 480 mm. Munch Museum, Oslo. Pablo Picasso (Spanish, 1881–1973). Femme qui pleure, 1937. Drypoint, aquatint, and etching. plate: 27 3/16 x 19 ½ in. (69 x 49.5 cm.); sheet: 30 1/2 x 22 9/16 in. (77.4 x 57.3 cm.). Museum of Modern Art, New York. Andy Warhol (American, 1928–1987). Marilyn, 1967. Portfolio of 10 screenprints. Each: 36 x 36 in. Robin Rile Fine Art, Miami. Pablo Picasso (Spanish, 1881–1973). Rembrandt with a Palette, from the Vollard Suite, 1934, printed 1939. Etching. Plate: 10 15/16 x 7 13/16 in. (27.8 x 19.8 cm.); sheet: 17 9/16 x 13 7/16 in. (44.6 x 34.1 cm.). Metropolitan Museum of Art, New York. Jasper Johns (American, born 1930). 0 through 9, 1960. Lithograph. Sheet: 69.9 x 54 cm (27 1/2 x 21 1/4 in.). National Gallery of Art, Washington, D.C. Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA. Scott Kahn (American, born 1946). Ingersoll's Branch, 1989, printed 2022. 26-color screenprint. Avant Arte. Ursula von Rydinsvard (German, born 1942). CISZA, 2021-22. Cedar. 149 x 79 x 82 in. George J. Stengel (American, 1872–1937). The Quarry, New Habor, Maine. Oil on canvas. 25 ¼ x 30 1.8 in. Questroyal Fine Art, New York. Kate Reno Miller (American, 1874–1929). Sunlit Path, 1920. Oil on board. 11 x 14 in. Cincinnati Art Galleries. Wharton Esherick Museum, Paoli, PA. (photo: Emma Lee, WHYY) B.J.O. Nordfeldt (American, 1878–1955). The Skyrocket, 1906. Color woodcut. Image: 8 ¾ x 11 ¼ in. (22.2 x 28.6 cm.). Smithsonian American Art Museum, Washington, DC.

Join us on this week's PreserveCast episode as we talk with Mary Cleary, Senior Editor at the Smithsonian American Art Museum, and Michael Knapp, Chief of Historical Services at the American Battle Monuments Commission, about the newly released book, Time Will Not Dim: American Battle Monuments Commission, A Century of Service, 1923 - 2023. Mary and Michael will take us through the book, their experience working on the book, and the history and future of the ABMC.

Ep.179 features Basil Kincaid (b. 1986, St. Louis, Missouri) an American artist who honors and evolves traditional practices through quilting, collaging, photography, installation and performance. Implementing materials vested with emotional and memorial content, Kincaid allows these mediums to function as spiritual technology that forward various wisdoms born from Kincaid's greatest values: family, imagination, rest, and experience. Kincaid studied drawing and painting at Colorado College, graduating in 2010. Kincaid has exhibited works with Hauser & Wirth, Mindy Solomon, Kravets Wehby, Kavi Gupta, Carl Kostyal and others. In 2019, Kincaid debuted a first museum performance, “The Release,” at the Pulitzer Arts Foundation in St. Louis MO. In 2020 Kincaid received the Regional Arts Commission Fellowship. In 2021, Kincaid became a United States Artist Fellow and joined the Collection of the Smithsonian American Art Museum. In 2022, Kincaid exhibited new quilt works in both the Legacy Russell-curated show, “The New Bend” at Hauser & Wirth's New York and Los Angeles locations, and the Ekow Eshun-curated exhibition, “New African Portraiture” at the Kunsthalle Krems in Austria. Kincaid also produced a ceremonial installation at Laumeier Sculpture Park in St. Louis, wrapping a Manuel Neri figure in a quilt entitled “Take Me Home” just days after Neri's passing. Kincaid opened 2023 with “Dancing the Wind Walk”, a semi-permanent fabric monument during Frieze LA, with support from the Art Production Fund; before the end of the year, he will reveal a new quilt as part of “The Threads We Follow” at SECCA, North Carolina Museum of Art, and will have a solo exhibition, “Spirit in the Gift”, at the Rubell Museum, where he was the 2023 Artist in Residence. Basil Kincaid has been awarded the Great Rivers Biennial Prize and will have a solo exhibition at the Contemporary Art Museum St. Louis in Fall 2024. Photo courtesy of Basil Kincaid Artist https://basilkincaid.art/ Rubell Museum https://www.rubellmuseum.org/miami-exhibitions-2/2023-24-miami-2/2023-basil-kincaid Kavi Gupta https://kavigupta.com/artists/76-basil-kincaid/ Mindy Solomon https://mindysolomon.com/artist/basil-kincaid/ Hauser Wirth https://www.hauserwirth.com/viewing-room/basil-kincaid/ Carl Kostya https://kostyal.com/basil-kincaid-refraction-new-photography-of-africa-and-its-diaspora-surface-design-association/ Smithsonian SAAM https://americanart.si.edu/artist/basil-kincaid-32186 Artnet News https://news.artnet.com/art-world/meet-basil-kincaid-miami-beach-2402768 Artnet News https://news.artnet.com/art-world/basil-kincaids-studio-visit-2323227 Rockefeller Center https://www.rockefellercenter.com/magazine/arts-culture/artist-basil-kincaid-at-rockefeller-center/ Art Production Fund https://www.artproductionfund.org/eventsblog/basil-kincaid-art-sundae Whitewall https://whitewall.art/whitewaller/new-exhibitions-basil-kincaid-spirit-in-the-gift-and-more/ Lensculture https://www.lensculture.com/basil-kincaid UTA https://www.unitedstatesartists.org/fellow/basil-kincaid/ Cultured Magazine https://www.culturedmag.com/article/2022/09/15/2022-09-15-basil-kincaid-quilts-exhibition The Art Newspaper https://www.theartnewspaper.com/2023/02/16/quilt-covered-airplane-at-frieze-los-angeles-has-many-stories-to-tell Frieze https://www.frieze.com/event/now-playing-basil-kincaid-dancing-wind-walk

For the 22nd episode of "Reading the Art World," host Megan Fox Kelly speaks with Richard Lacayo, author of “Last Light: How Six Great Artists Made Old Age a Time of Triumph,” published by Simon and Schuster.Richard Lacayo is one of the world's top art critics and he has been a long-time writer and editor at Time magazine. From 2003 to 2016 he was the magazine's art and architecture critic. Richard has also written on art and architecture for People, Foreign Policy, and Graydon Carter's new online publication, Air Mail. He's the co-author, with George Russell, of “Eyewitness: 150 Years of Photojournalism,” and in 2013 he delivered a lecture at the Smithsonian American Art Museum on the late careers of artists, the topic of this book. “Last Light” tells the stories of the late careers of six of history's greatest artists — Titian, Goya, Monet, Matisse, Hopper and Nevelson —  and shows how they continued to push themselves and the boundaries of their art-making right up until the end. As Richard's book reveals, the importance of much of this late-in-life work would not be fully understood or appreciated until decades later."Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations. For more information, visit meganfoxkelly.com and subscribe to our new posts. Follow us on Instagram: @meganfoxkellyPurchase “Last Light: How Six Great Artists Made Old Age a Time of Triumph” at Simon & Schuster and at Barnes & Noble. Music composed by Bob Golden.

In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages."I was just saying to Eric yesterday, we were walking down the quay and talking and suddenly I said, "People just don't think about place enough. We don't recognize the importance of place." I think it's a little bit the social media environment that we're living in now where we're all bent over a screen, but to try to locate yourself in a place is reifying. It's identifying. It gives you a sense of positive self-consciousness. I think if you find that you're comfortable or not, just being able to feel out the positive or negative effects of a space or place is really important. And I don't think people spend enough time affording themselves that contemplation of place. And, to go back to my work, that's a little bit what I'm doing...I've been trying to sort of locate myself outside of myself as a way of reflecting back on who I am as a person."www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

"I was just saying to Eric yesterday, we were walking down the quay and talking and suddenly I said, "People just don't think about place enough. We don't recognize the importance of place." I think it's a little bit the social media environment that we're living in now where we're all bent over a screen, but to try to locate yourself in a place is reifying. It's identifying. It gives you a sense of positive self-consciousness. I think if you find that you're comfortable or not, just being able to feel out the positive or negative effects of a space or place is really important. And I don't think people spend enough time affording themselves that contemplation of place. And, to go back to my work, that's a little bit what I'm doing...I've been trying to sort of locate myself outside of myself as a way of reflecting back on who I am as a person."In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages.www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages."The current climate situation is so overwhelming to people. This is a scale of problem that we have never encountered before. We talk about World War this and World War that, but this is a global catastrophe that's affecting every part of our planet. And it's, importantly, I think, bigger than anyone can actually take in. And I think everyone has the best intentions of trying to make positive change - unless it disturbs their cellphone use and their car driving too much. We have to get a little more serious about that.I've chosen my work because I've loved the outside world. I love the things outside of myself. I love what isn't immediate to me. And I love projecting onto that as a way of kind of trying to reach the distance between my inner self and the vastness. To try to do that in a way that makes other people feel inspired by it, not be chided for not taking care of it. It's not something that I intend to be a message per se, but I think it might be a better message if it's not saying, "People, you've been bad. You have to change your evil ways!"You know, I'd rather people look at the natural world and see the heartbreaking beauty of it and sense its fragility and its impermanence and their own impermanence and fragility and then have a response to that rather than say, you know, you have to act, you have to do something. I would hope that would inspire action rather than to cudgel them with a directive."www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

"The current climate situation is so overwhelming to people. This is a scale of problem that we have never encountered before. We talk about World War this and World War that, but this is a global catastrophe that's affecting every part of our planet. And it's, importantly, I think, bigger than anyone can actually take in. And I think everyone has the best intentions of trying to make positive change - unless it disturbs their cellphone use and their car driving too much. We have to get a little more serious about that.I've chosen my work because I've loved the outside world. I love the things outside of myself. I love what isn't immediate to me. And I love projecting onto that as a way of kind of trying to reach the distance between my inner self and the vastness. To try to do that in a way that makes other people feel inspired by it, not be chided for not taking care of it. It's not something that I intend to be a message per se, but I think it might be a better message if it's not saying, "People, you've been bad. You have to change your evil ways!"You know, I'd rather people look at the natural world and see the heartbreaking beauty of it and sense its fragility and its impermanence and their own impermanence and fragility and then have a response to that rather than say, you know, you have to act, you have to do something. I would hope that would inspire action rather than to cudgel them with a directive."In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC.She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages.www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public Domain

In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages."I was so mad at the Catholic Church and my upbringing and the way that my parents, my mother particularly, was so manipulated to think that if she did one thing for herself that she was somehow hurting Jesus and the local priests. I mean, it's such a brainwashing kind of situation. On the other hand, if you're raised Catholic, you're raised to believe in miracles. And the idea of transubstantiation. There's so many things about Catholicism, there's so much imagery that's magic, magical thinking, that lets your mind run free to a certain extent. You know, it does give you the willful ability to dream and imagine and just take off on crazy tangents. I mean religious people tend to be seekers and seekers tend to be the people that keep us whole and spiritually grounded and not just religious per se."www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

"I was so mad at the Catholic Church and my upbringing and the way that my parents, my mother particularly, was so manipulated to think that if she did one thing for herself that she was somehow hurting Jesus and the local priests. I mean, it's such a brainwashing kind of situation. On the other hand, if you're raised Catholic, you're raised to believe in miracles. And the idea of transubstantiation. There's so many things about Catholicism, there's so much imagery that's magic, magical thinking, that lets your mind run free to a certain extent. You know, it does give you the willful ability to dream and imagine and just take off on crazy tangents. I mean religious people tend to be seekers and seekers tend to be the people that keep us whole and spiritually grounded and not just religious per se."In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages.www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public Domain

In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages."The current climate situation is so overwhelming to people. This is a scale of problem that we have never encountered before. We talk about World War this and World War that, but this is a global catastrophe that's affecting every part of our planet. And it's, importantly, I think, bigger than anyone can actually take in. And I think everyone has the best intentions of trying to make positive change - unless it disturbs their cellphone use and their car driving too much. We have to get a little more serious about that.I've chosen my work because I've loved the outside world. I love the things outside of myself. I love what isn't immediate to me. And I love projecting onto that as a way of kind of trying to reach the distance between my inner self and the vastness. To try to do that in a way that makes other people feel inspired by it, not be chided for not taking care of it. It's not something that I intend to be a message per se, but I think it might be a better message if it's not saying, "People, you've been bad. You have to change your evil ways!"You know, I'd rather people look at the natural world and see the heartbreaking beauty of it and sense its fragility and its impermanence and their own impermanence and fragility and then have a response to that rather than say, you know, you have to act, you have to do something. I would hope that would inspire action rather than to cudgel them with a directive."www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

"The current climate situation is so overwhelming to people. This is a scale of problem that we have never encountered before. We talk about World War this and World War that, but this is a global catastrophe that's affecting every part of our planet. And it's, importantly, I think, bigger than anyone can actually take in. And I think everyone has the best intentions of trying to make positive change - unless it disturbs their cellphone use and their car driving too much. We have to get a little more serious about that.I've chosen my work because I've loved the outside world. I love the things outside of myself. I love what isn't immediate to me. And I love projecting onto that as a way of kind of trying to reach the distance between my inner self and the vastness. To try to do that in a way that makes other people feel inspired by it, not be chided for not taking care of it. It's not something that I intend to be a message per se, but I think it might be a better message if it's not saying, "People, you've been bad. You have to change your evil ways!"You know, I'd rather people look at the natural world and see the heartbreaking beauty of it and sense its fragility and its impermanence and their own impermanence and fragility and then have a response to that rather than say, you know, you have to act, you have to do something. I would hope that would inspire action rather than to cudgel them with a directive."In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC.She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages.www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public Domain

Sponsored by Accuquilt! Sign up for the Black Women Stitch quarterly newsletter!   Check out our merch here Leave a BACKSTITCH message and tell us about your favorite episode. Join the Black Women Stitch PatreonAmazon StoreLisa WoolforkLisa Woolfork is an associate professor of English specializing in African American literature and culture. Her teaching and research explore Black women writers, Black identity, trauma theory, and American slavery. She is the founder of Black Women Stitch, the sewing group where Black lives matter. She is also the host/producer of Stitch Please, a weekly audio podcast that centers on Black women, girls, and femmes in sewing. In the summer of 2017, she actively resisted the white supremacist marches in her community, Charlottesville, Virginia. The city became a symbol of lethal resurging white supremacist violence. She remains active in a variety of university and community initiatives, including the Community Engaged Scholars program. She believes in the power of creative liberation. Bisa ButlerBisa Butler is an award winning African American textile artist known for her vibrantly stunning larger than life sized quilted portraits that captivate viewers around the world. Formally trained, Butler graduated Cum Laude from Howard University with a Bachelor's in Fine Art degree and it was during this time that she began to experiment with fabric as a medium and became interested in collage techniques. She then went on to earn a Master's in Art from Montclair State University in 2005. While in the process of obtaining her Master's degree, Butler took a Fiber Arts class where she had an artistic epiphany and she finally realized how to express her art.  “As a child, I was always watching my mother and grandmother sew, and they taught me. After that class, I made a portrait quilt for my grandmother on her deathbed, and I have been making art quilts ever since.”After working as a high school art teacher for thirteen years, Butler was awarded a Gordon Parks Foundation Fellowship in 2002 and exhibited in Switzerland during Art Basel with the Jeffrey Deitch Gallery. Many institutions and museums have acquired Butler's work including the Art Institute of Chicago for a solo exhibition, The Smithsonian National Museum of African American History and Culture, and The Renwick Gallery of the Smithsonian American Art Museum. Insights from this episode:Why it's important to uplift and encourage each other, starting with the children in our livesHow Bisa uses her art to affirm the dignity of historical figuresThe process of researching historical figures and time periods to accurately portray them through artHow different colors play into the meaning expressed in her artHow Bisa infuses her quilts with the music she's listening to as she createsWhat happens when you stop starting with ‘white' as a defaultInsights into the difference between studying art education (teaching people how to make art) vs. learning how to make art yourselfQuotes from the show:“I'm always seeking for truth and to find those essential truth elements about Black people.” – Bisa Butler, Stitch Please, Episode #200“I have had people ask me, people who don't necessarily look like us so they don't have a full understanding, ‘I notice that you make all of your subjects look regal. Why, or what's the process of that?' I would say I'm just looking at them and this is the way they appear to me. I'm not trying to make them look regal; if anything maybe it's just that you're looking at them more carefully. The dignity or that inner regality, I can't give it to them; they have it already.” – Bisa Butler, Stitch Please, Episode #200“My interest in colorism is why the features look very African American. I don't want to dilute that in any way. I'm loving our full lips, broad noses, or whatever the case may be.” – Bisa Butler, Stitch Please, Episode #200“I love that word ‘talisman' because it acknowledges that spiritual resonance and also having a mantra. We've always been very spiritual people and we've always been people who have to think hopefully and we have to think about the world beyond us or even after us. A lot of times we have to pray for our living relatives who we may not be able to protect in the way that we want to.” – Bisa Butler, Stitch Please, Episode #200“Music is such a strong form of communication; it's such a strong form of art because you don't need words, you just need to hear the sound to understand somebody's emotional output. The composer, musician, they can make you feel sad, they can make you feel happy, they can make your heartbeat go faster, they can make you go to sleep. That's a control of power that can be passed down through the ages. The music, as long as it's in a form that you can hear, you can hear how somebody felt hundreds of years before you.” – Bisa Butler, Stitch Please, Episode #200“The music to me is more than an aid; it's the explanation.” – Bisa Butler, Stitch Please, Episode #200“For Black Women Stitch and the Stitch Please podcast we center Black women, girls, and femmes in sewing to make a deliberate choice to center Blackness. Also one of the things I'm studying a lot in my own work is the question of what happens when you stop starting with white… Stop acting like color is something that is new when white supremacy operates in this country deliberately through our laws and customs.” – Lisa Woolfork, Stitch Please, Episode #200“We are the sum of all the people who came before us.” – Lisa Woolfork, Stitch Please, Episode #200“Be kind to yourself. Be patient with yourself. Treat yourself like you treat other people; it will help you get your stitch together. Enjoy your life. Look at beautiful things. Take classes and learn, and be patient if things don't look or seem the way you want because we are all growing in this life together and you will get there.” – Bisa Butler, Stitch Please, Episode #200Resources Mentioned:Francis and Violette, 2001The Holsinger Collection, Bill Hurley's portrait, and Bisa's interpretation: A Man's Worth, 2019This Here Flesh: Spirituality, Liberation, and the Stories That Make Us by Cole Arthur Riley (“You don't give dignity, you affirm it.”)Bisa Butler: Portraits at the Art Institute of Chicago and accompanying playlistI Owe You Nothing by Seinabo Sey (song) Stay Connected:YouTube: Black Women StitchInstagram: Black Women StitchFacebook: Stitch Please PodcastLisa WoolforkInstagram: Lisa WoolforkTwitter: Lisa WoolforkBisa ButlerWebsite: Bisa ButlerInstagram: Bisa ButlerTwitter: Bisa ButlerLinkedIn: Bisa ButlerLinkTree: Bisa ButlerEmail: bisabutlerart@gmail.comSubscribe to our podcast + download each episode on Apple Podcasts and Spotify.This episode was produced and managed by  Podcast Laundry.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer and educator, Andrew Moore take a deep dive into the history of Andrew's ever evolving processes and practices. Andrew talks about his varied influences from both the modern and post-modern art world movements. Sasha and Andrew also discuss how his photography kept moving him closer and closer to home culminating in work made in the Hudson Valley where he resides. LINKS HERE https://www.andrewlmoore.com https://www.yanceyrichardson.com/artists/andrew-moore American photographer Andrew Moore (born 1957) is widely acclaimed for his photographic series, usually taken over many years, which record the effect of time on the natural and built landscape. These series include work made in Cuba, Russia, Bosnia, Times Square, Detroit, The Great Plains, and most recently, the American South. Moore's photographs are held in the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the National Gallery of Art, the Yale University Art Gallery, Museum of Fine Arts Houston, the Smithsonian American Art Museum, and the Library of Congress amongst many other institutions. He has received a fellowship from the John Simon Guggenheim Memorial Foundation in 2014, and has as well been award grants by the National Endowment for the Humanities, the New York State Council on the Arts, and the J M Kaplan Fund. His most recent book, Blue Alabama, with a preface by Imani Perry and story by Madison Smartt Bell was released in the fall of 2019. His previous work on the lands and people along the 100th Meridian in the US, called Dirt Meridian, has a preface by Kent Haruf and was exhibited at the Joslyn Art Museum in Omaha. An earlier book, the bestselling Detroit Disassembled, included an essay by the late Poet Laureate Philip Levine, and an exhibition of the same title opened at the Akron Museum of Art before also traveling to the Queens Museum of Art, the Grand Rapids Art Museum, and the National Building Museum in Washington, DC. Moore's other books include: Inside Havana (2002), Governors Island (2004) and Russia, Beyond Utopia (2005) and Cuba (2012). Additionally, his photographs have appeared in Art in America, Artnews, The Bitter Southerner, Harpers, National Geographic, New York Review of Books, The New York Times Magazine, The New Yorker, TIME, Vogue and Wired. Moore produced and photographed "How to Draw a Bunny," a pop art mystery feature film on the artist Ray Johnson. The movie premiered at the 2002 Sundance Festival, where it won a Special Jury prize. Mr. Moore was a lecturer on photography in the Visual Arts Program at Princeton University from 2001 to 2010. Presently he teaches a graduate seminar in the MFA Photography Video and Related Media program at the School of Visual Arts in New York City. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

Frank Duveneck was lauded as a genius artist in his youth, and when he started teaching, he met Elizabeth Boott. Though their marriage was short, she had a significant impact on his work. Research:   F.P.V. “Frank Duveneck.” Boston Evening Transcript. August 10, 1875. https://www.newspapers.com/image/735164156/?terms=frank%20duveneck&match=1   “How a Cincinnati Artist Stands in Boston.” The Cincinnati Enquirer. April 30, 1875. https://www.newspapers.com/image/30481304/?terms=frank%20duveneck&match=1   Findsen, Owen. “More Than a Painter's Place.” The Cincinnati Enquirer. Aug. 29, 1999. https://www.newspapers.com/image/103110515/?terms=frank%20duveneck   Britannica, The Editors of Encyclopaedia. "Frank Duveneck". Encyclopedia Britannica, 1 Jan. 2023, https://www.britannica.com/biography/Frank-Duveneck   Young, Mahonri Sharp. “The Two Worlds of Frank Duveneck.” American Art Journal, vol. 1, no. 1, 1969, pp. 92–103. JSTOR, https://doi.org/10.2307/1593857   “William Morris Hunt.” Smithsonian American Art Museum. https://americanart.si.edu/artist/william-morris-hunt-2359    Osborne, Carol M. “Frank Duveneck & Elizabeth Boott Duveneck: An American Romance.” Traditional Fine Arts Organization. https://www.tfaoi.org/aa/2aa/2aa572.htm   “ELIZABETH BOOTT DUVENECK.” Mary Ran Gallery. https://maryrangallery.com/elizabeth-boott-duveneck   Duveneck, Frank. “Tomb Effigy of Elizabeth Boott Duveneck.” The Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/10807   “Frank Duveneck.” National Gallery of Art. https://www.nga.gov/collection/artist-info.1258.html   “Frank Duveneck: Father of American Art.” Cincinnati Art Museum. Jan. 28, 2021. https://www.cincinnatiartmuseum.org/about/blog/frank-duveneck-father-of-american-art/   Martin, McKenzie. “Frank Duveneck.” Kentucky History. https://explorekyhistory.ky.gov/items/show/354   Quick, Michael. “American Painter Abroad: Frank Duveneck's European Years.” Cicinnati Art Museum. 1987.   “Frank Duveneck lecture.” Cincinnati Art Museum. https://www.youtube.com/watch?v=3_odizZFhxg See omnystudio.com/listener for privacy information.