Podcast appearances and mentions of stephanie syjuco

Brandon Zech and Gabriel Martinez discuss memorable art events, exhibitions, and changes in the Texas art scene from 2024. "When budgets need to be cut the arts are always seen as expendable and even though the money that's funding the arts both locally in different cities across Texas and nationally through the National Endowment for the Arts is pennies compared to the overall budget, to the public it sounds like a lot." See related readings here: https://glasstire.com/2024/12/29/art-dirt-looking-back-at-2024/ This week's podcast is sponsored in part by Prospect New Orleans and the closing weekend of Prospect.6:The Future Is Present, The Harbinger Is Home, which is taking place January 30 through February 2, 2025. Programming and events include the U.S. debut of On Flashing Lights, a light and sound installation by Brendan Fernandes; musical activations by Deborah Jack and the Diaphanous Ensemble; and Stephanie Syjuco's exploration of St. Malo, the first Filipino settlement in the U.S. Also, New Orleans-based artist Christian Việt Ðinh will present Reverence to the Refugee, a royal banquet honoring New Orleans East community leaders, commemorating the 50th anniversary of the Fall of Saigon, and celebrating resilience in the Vietnamese community. Visitors can stay at hotels throughout the city like The Virgin Hotel, New Orleans for special rates through the closing. For more information visit www.prospect6.org/visit.

Episode No. 654 features curator Karen Hellman and artist Myra Greene. With Carolyn Peter, Hellman is the curator of "Nineteenth-Century Photography Now" at the J. Paul Getty Museum, Los Angeles. The exhibition examines how many of the conventions and processes established in photography's early years remain of interest to artists working today. Historical artists within the exhibition include Anna Atkins, Gustave Le Gray, Nadar, Julia Margaret Cameron, Roger Fenton, and Carleton Watkins. The exhibition is on view through July 7. Claire L'Heureux and Antares Wells assisted the co-curators. Greene is among the 21 contemporary artists on view. Her work uses photography and textiles to explore representations of the body and race. Core to her practice is an understanding that color is materially and culturally dependent on context, and historically has been. She has had solo exhibitions at museums such as the Museum of Contemporary Art Georgia, Atlanta, the Kentucky Museum of Art and Craft, Louisville, and has been included in group exhibitions at the Spelman College Museum of Fine Art, Atlanta, the Block Museum of Art, Northwestern University, the Rose Art Museum, Brandeis University, the National Gallery of Art, Washington, and more. Ten artists in the exhibition previously have been guests on The Modern Art Notes Podcast: Andrea Chung; Liz Deschenes; Ken Gonzales-Day; An-My Lê; Lisa Oppenheim; Wendy Red Star; Mark Ruwedel; Paul Mpagi Sepuya (second visit); Stephanie Syjuco (second visit); and Carrie Mae Weems. Instagram: Myra Greene, Tyler Green.

“Wright” with a “W, spider webs, sewing needles, Dune, grief, and Black and Blue. Join the friends as they visit Going Dark: The Contemporary Figure at the Edge of Visibility. Artists include: American Artist, Kevin Beasley, Rebecca Belmore, Dawoud Bey, John Edmonds, Ellen Gallagher, David Hammons, Lyle Ashton Harris, Tomashi Jackson, Titus Kaphar, Glenn Ligon, Kerry James Marshall, Tiona Nekkia McClodden, Joiri Minaya, Sandra Mujinga, Chris Ofili, Sondra Perry, Farah Al Qasimi, Faith Ringgold, Doris Salcedo, Lorna Simpson, Sable Elyse Smith, Stephanie Syjuco, Hank Willis Thomas, WangShui, Carrie Mae Weems, and Charles White.

Episode No. 614 features curator Kate Clarke Lemay and artist Maia Cruz Palileo. With Taína Caragol, Lemay is the co-curator of "1898: US Imperial Visions and Revisions" at the Smithsonian's National Portrait Gallery in Washington. (Carlina Maestre assisted them.) The exhibition examines late-nineteenth-century US imperialism, especially the War of 1898 (often called the Spanish-American War), the Congressional Joint Resolution to annex Hawai'i (which was passed in July 1898), the Philippine-American War (1899-1913) and the US extension of its sphere to include Cuba, Guam, and Puerto Rico. The exhibition particularly -- but not exclusively -- looks at how portraiture was used by the US in an attempt to define peoples, and by both the US and by the leaders of other countries to establish status within the community of nations, and to project power. "1898" is on view through February 25, 2024. The forthcoming exhibition catalogue features an essay by Caragol that looks at how several contemporary artists are addressing the legacies of US imperialism in their work. Among the artists on whom Caragol focuses is Palileo, whose work often addresses her family's arrival in the United States from the Philippines, as well as the colonial relationship between the two countries. (The other artists Caragol addresses in her essay are Stephanie Syjuco, Gisela McDaniel, and Miguel Luciano.) Palileo's work often extends from research she conducted at the Newberry Library in 2017. The library's holds significant research collections related to the US imperial project in the Philippines, including a watercolor album by Damián Domingo and photographs made by Dean C. Worcester, a US zoologist who worked in the Philippines. Worcester's work was influential in shaping US public opinion about Filipinos. Palileo's work has been featured in solo exhibitions at the Katzen Arts Center at Washington's American University and at the Wattis Institute for Contemporary Arts at the California College for the Arts in San Francisco. She's been in group shows at institutions such as the Moderna Museet in Sweden, the Nasher Museum of Art at Duke University, the Bemis Center, Omaha, and the NPG. On September 8-9 the NPG will convene over 40 scholars and artists from the Philippines, Guam, Puerto Rico, Hawai‘i, Cuba, Spain, the United Kingdom, and the US for a two-day symposium. In addition to panel discussions and gallery talks, the event will feature a keynote address by Pulitzer Prize-winner Ada Ferrer. All panels and the keynote address will take place in the McEvoy Auditorium in the Reynolds Center for American Art and Portraiture in Washington. RSVP here (it's free). Instagram: Kate Lemay, Tyler Green.

Holly Wong lives and works in San Francisco, California. She was educated at the San Francisco Art Institute where she graduated with a Master of Fine Arts with a concentration in New Genres. Holly creates installations and assemblages, integrating non-traditional approaches with more traditional sewing techniques associated with the history of women. She has been awarded visual arts grants from the Integrity: Arts and Culture Association, Barbara Deming Memorial fund, the George Sugarman Foundation, the Puffin Foundation, and a Gerbode Foundation purchase award. She has had over 70 group exhibitions and 10 solo exhibitions. She is represented by SLATE Contemporary Gallery in Oakland, California, ELLIO Fine Art Gallery in Houston, TX, and is a member of A.I.R. Gallery in Brooklyn, New York. "My work reclaims the female body and bears witness to the spirit. I create fiber and drawing based installations, assemblages and works on paper to remember my mother whom I lost to alcoholism and domestic violence. These works range in size from intimate pieces to larger immersive works. I use a variety of fabric and flexible drawing surfaces as my medium, applying the skills passed down to me from my mother who was a talented seamstress. The sexual violence we both experienced in our lives led to a self-loathing of my body, cultivating the anorexia and mental illness I struggled with as a young woman. Now, I stitch and draw as a journey towards wholeness, both for myself and for my mother's memory. I started to work with fiber installation in 2017. I became attracted to working with light, reflective, transparent fabrics because it reminds me of the permeable separation between the living and the dead. In my recent series “quilt suspensions,” I use a flat felled seam technique with transparent fabric. I combine these ephemeral materials with LED strip lighting and diffusion film as a proxy for my mother's spirit. The layers of pieced fabric are suspended over this light-spirit as a shroud or mourning cloth. Inspired by Chinese funeral customs, the quilt layers become burial blankets that are offered by the children of the deceased and layered upon their loved ones. A major throughline in my work is the wound or scar and the power of taking back the night by healing the scar. Creating works of beauty in brokenness is my highest act of resistance."   Links: https://hollywongart.com/   Instagram: @hollywongart     Artist Shoutout:   Ed Love @edloveart Al Wong @alwongart. Christina Massey @cmasseyart. Laura Sallade @laura.sallade. Bonny Leibowitz. @bonnyleibowitz. Etty Yaniv @etty.yaniv. William Powhida @williampowhida. Will Hutnick @willhutnick. Mia Pearlman @mia_pearlman. Kira Dominguez Hultgren. @kiradominguezhultgren. Jutta Haeckel @juttahaeckel. Natalie Ball @natalie_m_ball. Rachel Hayes @rachelbhayes. Stephanie Syjuco @ssyjuco   I Like Your Work Links: Radiate and Repeat Exhibition  Join The Works Membership! https://theworksmembership.com/ Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram

Auto-correct keeps messing with me Welcome to “Happy New Yeast” on the What's The Matter With Me? Podcast In this episode, autocorrect keeps messing with me. After almost two years, I'll get new teeth on Friday. I drove myself to KFJC and did a lot of cooking. Buck Wild I lost my buck teeth in the Spring of 2021 and, at long last, I'm getting them back on Friday Live on KFJC I drove to KFJC and hung out with Jack tar during the Blues Collective and also picked up some records to review They had this year's new years card and a past new years card up in the lobby I got assigned a couple records to review and brought them home, fulfilling the original reason to be a member at kfjc: to get free records Misadventures In Autocorrect "Happy new yeast," my phone is always autocorrecting me, when I try to write happy new years. And I'm like "No, man- that makes me sound weird." Plastic Tones Cedell Davis Cedell Davis was a disabled blues man with limited use of his hands Doin' drop off and pickup I took the kids to school- Nami was working in San Diego, End of day pickup & took them out to Taco Bell, because they see the ads on TV Cooking While Disabled Jan 2023 Need a TED talk about making PBJ that addresses the importance of spreading the peanut butter and jelly to the edge of the bread Made mojo sauce, its hard for me bc it had some tricky things like using the microplane, blender & a lotta juicing i extended the marinating time to break out the work over 2 days Made soup again, the kale was a bit difficult to strip off the stems but i did it anyway bc it's good to do things within reason. Part of cooking is prep, and it's the work Artist at the Grocer I saw the artist Stephanie Syjuco at the grocery store. That was last week; this week she's at MSU, installing a new exhibition https://twitter.com/johnhoppin/status/1618749185481920515 Hold It Right There The Amazon page holder device- I can read again. It's called "Bookmark/Weight-Page Holder-Holds Books Open and in Place-Clear-by Superior Essentials" and it was Amazons choice. Using it is easy and I can read much easier without having to grapple with the book. Currently, I'm reading The Year's Best Sports Writing 2021 and Saxophone Colossus, Aidan Levy's new Sonny Rollins biography and the page holder is doing exactly what they said it would- a useful product.

Cover photo of Miki Garcia by Alonso Parra.Please visit the website for Undoing Time: Art and Histories of Incarceration at ASU's Art Museum and at Berkeley Art Museum to learn more.1:30 ASU Art Museum's mission as a learning institution that centers art and artists in the service of social good and community well-being2:40 inspiration for Undoing Time: Art and Histories of Incarceration exhibition as a cultural mark in time for ASU Art Museum 6:40 effort to address all dimensions of an exhibition on mass incarceration and its impact on viewers8:00 Art for Justice Fund's involvement in exhibition 9:05 prior exhibition with artist Gregory Sale who worked with incarcerated populations9:15 Contemporary Art Museum Houston and Nicole Fleetwood's work with the Walls Turned Sideways: Artists Confront the Justice System exhibition 10:20 Undoing Time's focus began with a survey of how incarceration has been portrayed through images from the 18th Century Code of Hammurabi forward11:30 12 artists invited to create commissions for Undoing Time, including Mario Ybarra, Jr. who created a pizza parlor vignette that dealt with Ybarra's childhood friend Richard who later was incarcerated on a murder charge13:20 rehabilitation was shown in Ybarra's work that's not shown in historical images of incarceration 13:55 Stephanie Syjuco's commission abstracted images of black and brown incarcerated population15:10 Juan Brenner's commission about the Guatemalan Highlands and how the U.S. West Coast prison system gang culture was exported to Central America16:10 destruction of Guatemalan Highlands' residence due to erection of prison that houses Mara Salvatrucha gang17:25 architecture of prisons, e.g, the panopticon, the fortress18:00 Indigenous artists Raven Chacon and Cannupa Hanska Luger 19:15 Luger's commission focus on the relationship of land to mass incarceration19:25 Mass Liberation Arizona's mission of people over property21:00 Theater maker and Playwright Michael Rohd choreographed going through the exhibition 22:55 Raven Chacon's musical composition about a juvenile detention center24:10 Rohd's positing of questions and cards for viewer feedback 26:45 Art for Justice Fund to ASU poet Natalie Diaz and the Center for Imagination in the Borderlands30:00 undergoing critique of the purpose and operation of museums 33:30 museums are civic institutions of dialogue, engagement and storytelling and should be responsible to the communities they serve35:30 art's power to challenge inherited narratives about incarceration 37:15 how she sees her legacy to eliminate as many boundaries as possible and uphold all kinds of art forms and include more voices and to open up what a museum can be and who it's actually for39:20 evolution of her definition of justice 40:45 justice has to be fought for 40:55 justice as public loveTo view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2022]

Episode No. 539 features artist Stephanie Syjuco and historian Kate Wilson. Stephanie Syjuco's work is featured in several exhibitions around the United States. The Amon Carter Museum in Fort Worth is presenting "Stephanie Syjuco: Double Vision," a site-specific commission that builds from the Carter's collection to investigate historical and art historical narratives around American imperialism in the West. The project was curated by Kristen Gaylord and will be on view through January 2023. Syjuco is also in "Futures," a 32,000-square-foot pan-Smithsonian exhibition on view at the Smithsonian's Arts & Industries building through July 6; "Constellations: Photographs in Dialogue" at the San Francisco Museum of Modern Art through August 21; and "Stephanie Syjuco: Latent Images" at New York's Ryan Lee Gallery through March 12. Syjuco works across media such as installation and photography to investigate how images have helped build racialized, exclusionary narratives that have helped construct history and determine citizenship. Among the institutions that have presented her projects and solo exhibitions of her work are the Baltimore Museum of Art, the Blaffer Art Museum, the Contemporary Art Museum Saint Louis, the University of Kentucky, the Cantor Arts Center at Stanford University, and the Asian Art, Havana and Bucharest biennials. Wilson is a senior lecturer in the Department of Classics in Arts & Sciences at Washington University in St. Louis. Last semester she taught a class called "Race and Identity in Greco-Roman Antiquity." Concurrently she organized a teaching gallery exhibition in Wash U's Kemper Art Museum titled, "Colonizing the Past: Constructing Race in Ancient Greece in Rome." The project was the rare presentation of whiteness studies-informed exhibition in American art museum. Instagram: Stephanie Syjuco, Tyler Green. 

The Manila-born artist spent some of the summer combing through archives from the 1904 World's Fair, particularly materials related to the so-called Filipino Village. A site-specific installation building from those materials will be part of an exhibition that examines the use of photography and other images to create social narratives related to imperialism and colonization.

The Contemporary Art Museum in St. Louis is using art to engage history and contextualize the present. chief curator Wassan Al-Khudhairi joined St. Louis on the Air with artists Stephanie Syjuco and Bethany Collins to discuss the CAM’s fall exhibitions.

Stephanie Syjuco is an artist and professor from UC Berkeley. Syjuco is one of the four artists featured in the Smithsonian American Art Museum’s Disrupting Craft: Renwick Invitational opening this week across the street from the White House.  She works on monuments by scaling them to handheld objects, newly imagined commodities, and tools for protest.  - Monument Lab

Joanne McNeil chairs a panel discussion considering new and emerging issues related to the ownership, circulation, copyright, and authenticity of forms and images.

This is the final weekend for the exhibition FREE TEXTS by Stephanie Syjuco at the Ulrich Museum.

This Educator Guide accompanies the video "In the Gallery with Stephanie Syjcuo" from KQED. In celebration of the Golden Gate Bridgeʹs 75th anniversary, local artist Stephanie Syjuco built an expansive shop in a monochrome palette: the memorable orange hue of the Golden Gate Bridge. Working with the same paint used to keep the bridge looking fresh, Syjucoʹs installation for the International Orange exhibition at Fort Point features all things reddish‐orange: teacups, jewelry, postcards, and tchotchkes. Introduce your students to Stephanie and her project in our video, "In the Studio with Stephanie Syjuco"

For the 75th anniversary of the Golden Gate Bridge artist Stephanie Syjuco created an expansive shop of souvenirs produced in a monochrome palette: the memorable orange hue of the Golden Gate Bridge. Working with the same paint used to keep the bridge looking fresh, Syjuco's installation features all things reddish-orange: teacups, jewelry, postcards and tchotchkes that are surprisingly not for sale, but presented together as a conceptual art installation. This project contributes to the artist's oeuvre, which instigates dialogue about consumerism and our natural desire for objects and mementos.

This Educator Guide corresponds with the "Stephanie Syjuco: Conceptual Artist" video from KQED Spark.

See why Stephanie Syjuco is recruiting crafters from around the globe to create knock-off designer goods.

See why Stephanie Syjuco is recruiting crafters from around the globe to create knock-off designer goods. Original air date: May 2008.