Podcasts about triennial

Join host Leta Doolin on a captivating journey exploring the spirit of renewal through the power of upcycled art. Discover how communities across the UK are transforming their environments into cultural hot spots by embracing creativity. Whether it's turning glass bottles into vases or fabric scraps into patchwork masterpieces, learn how upcycling is more than just a trend—it's a movement. Delve into inspiring stories, like Bristol's See No Evil project, which turned a dull street into a vibrant open-air gallery, and Folkstone's Triennial that invigorated a coastal town with artistic flair. Explore fun DIY projects and connect with a community of like-minded creatives every Sunday. This Easter, unleash your creative spirit, embrace the process, and let's inspire each other to create beautiful, personal art from everyday items. Subscribe and stay connected for more inspiring episodes on art and creativity with Lita Doolan.

Melissa Chimera, co-host of the Land and People podcast is a Hawai‘i Triennial 2025 visual artist whose work consists of research-based investigations into species extinction, globalization and human migration. In this interview, Melissa talks with Dr. Jaimey Faris, Associate Professor of Contemporary Art and Theory at UH Mānoa on how environmental justice can be expressed through “undisciplining” or pursuing the links between art, science and ethics of deep care. They talk about how her paintings (Inheritance: Maui Nui, Not Even the Fiercest Wind, Endless Blue: Mauna Kahalawai) address endangered species, the Maui fires and the transformative potential of Chimera's public installation “Hulihonua: Transformed Landscapes”. The installation consists of 360 deer antlers, native vegetation and flowing water at Foster Botanical Garden. Their conversation contributes to the Hawai‘i Contemporary's Hawai‘i Triennial 2025, an international exhibition whose theme of “Aloha Nō” encompasses artworks that express solidarity, interconnectedness, care and reciprocity between people and their land.

In this episode, we are joined by Stacey Doyon, President-Elect of the International Federation of Societies for Hand Therapy. Stacey shares with us information about IFSHT, their mission and how they are connecting upper extremity therapists across the globe. We also briefly discuss the upcoming IFSSH-IFSHT Triennial Congress being held March 24-28, 2025, in Washington, DC. Silent Auction Link: https://ifsht.org/awards_grants/silent-auction/Guest Bio: I have served on the board of the American Society of Hand Therapists from 1999-2008 which includes the following positions: Past president (2008), President (2007), President Elect (2006), Vice President (2005), Director of Advocacy (2004), Secretary/Treasurer (2003), Secretary/Treasurer elect (2002), Division Director of Alliances (2001), Division Director of Member Services (2000) and Board Member at Large (1999-2000). From 2008-2010 I was the Chairperson for the 2010 International Federation of Societies for Hand Therapy, for the American Society of Hand Therapists. In 2011 I became a board member for the Hand Therapy certification Commission holding the position of Treasurer in 2017-2024. I was a committee member since from 2006-2024. I have also served on several committees for IFSHT which include the finance committee for 2007, 2018-2019, Abstract review committee for 2013 and 2016 and then the nominations committee in 2016. In 2019-2022 I was Treasurer for IFSHT and in 2022-present I became President-Elect. I will go on to be President of IFSHT at the end of the Triennial congress in Washington DC 2025.

In this shiur we dive into how Keriat HaTorah evolved through the Middle Ages, and we focus on 3 major changes: the Baal Koreh, the Targum, and the Triennial cycle.

New Orleans is gearing up for the Super Bowl, and Gov. Jeff  Landry announced his administration will begin clearing homeless encampments downtown, moving some unhoused residents to a warehouse in Gentilly and others out of state. The Times-Picayune/The Advocate's Sophie Kasakove joins us for more.  The flu virus is surging nationwide, with positive test rates reaching higher than 18% in early January. This winter, we've also seen spikes in RSV and COVID-19. Dr. Susan Hassig, epidemiologist at Tulane University, tells us more about the viruses going around – and how to stay safe.The 6th iteration of Prospect New Orleans, a triennial citywide exhibition of contemporary art, will soon close. . Prospect.6: The Future Is Present, The Harbinger Is Home features artists from Louisiana and around the world, and puts New Orleans in the  global spotlight. Prospect.6's co-artistic director, Miranda Lash, and programming director, Denise Frazier, tell us more about the exhibit and how to see it.___Today's episode of Louisiana Considered was hosted by Diane Mack. Our managing producer is Alana Schrieber. We get production and technical support from Garrett Pittman, Adam Vos and our assistant producer, Aubry Procell.You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, Google Play and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

The 11th Asia Pacific Triennial has opened at GOMA in Brisbane, an interactive, free exhibition showcasing 200 artists from across Australia, Asia & the Pacific.https://www.qagoma.qld.gov.auhttps://www.travellingsenorita.com

In this episode, CII General Counsel Jeff Mahoney interviews Ally Zimmerman, the Madeline Duncan Rolland Associate Professor of Business Administration at Florida State University. Professor Zimmerman is the co-author of a recent paper entitled "A Tale of Three Perspectives: How GNFs, Annual NAFs, and Triennial NAFs Experience the PCAOB Inspection Deficiency Remediation Process."

Send us a textNasim Nasr is an Iranian-born Australian artist whose work focuses on the issues facing her home country of Iran and the challenges she has experienced as a woman and female artist. These circumstances ultimately led her to leave Iran at the age of 25. Nasim relocated to Australia with her younger siblings, where she has built a life for herself and her family while establishing herself as a prominent artist.Working across photography, installation, and performance, Nasim has gained significant recognition, with her works recently acquired by the Powerhouse Museum in Sydney. We had the pleasure of speaking with Nasim about her life journey and her beautiful, thought-provoking art. Enjoy listening to her story, and feel free to reach out to Nasim to see her work or for a studio visit. 'Biography:Born in Tehran, Iran 1984Moved to Adelaide, Australia 2009,  Currently lives and works in SydneySince graduating with a Master Visual Arts (Research), University South Australia, 2011, Nasim Nasr's art practice has sought to comment upon the transience of cultural identities. With an interest in cultural relationships in contemporary society, her artworks have engaged themes of intercultural dialogue and perspective between the historical and contemporary. Using video, photography, performance,  3D objects and sound, these works highlight notions of cultural difference as experienced in her past and present homelands, between West and East and seeks to create a harmony between the two.Nasim Nasr is a third time finalist at Fisher's Ghost Art Award and will exhibit at Campbelltown Art Centre Oct-Dec 2024 with her new light box; Impulse 2024, In March 2024 Nasr won AUSTRALIAN CONTEMPORARY ARTIST OUTSTANDING CONTRIBUTION AWARD from the Art's Minister Tony Burke and Shadow Art Minister Paul Fletcher at the Paliment House, Canberra. Nasr's latest video work ‘Impulse' was presented at the 2023 Adelaide Independent Film Festival where it won the best Micro Short Film Award, and was in the official selection at the 2023 A Shaded View on Fashion Film Festival Awards in Paris. In 2017 Nasr won People's Choice Award in The William and Winifred Bowness Photography Art Prize, Monash Art Gallery Melbourne, and her Women in Shadow II video documentation won an award at the 10th Anniversary Edition, A Shaded View on Fashion Film, Maison Jean Paul Gaultier and Club De L'Etoile, Paris, France in 2018. Nasr exhibited in the inaugural Triennial of Asia: We Do Not Dream Alone, Asia Society Museum in New York, October 2020–June 2021, her latest solo presentation Impulse at Mars Gallery, Melbourne March-April 2023. She exhibited at Photo London, Somerset House, London in May 2023. Nasr's latest photograph Impulse (2023) was reproduced on the front cover of ART COLLECTOR magazine in Australia, issue 104 included 8pp profile story on her practice.'

Twentieth Sunday after Pentecost The Collect: Almighty and everlasting God, you are always more ready to hear than we to pray, and to give more than we either desire or deserve: Pour upon us the abundance of your mercy, forgiving us those things of which our conscience is afraid, and giving us those good things for which we are not worthy to ask, except through the merits and mediation of Jesus Christ our Savior; who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen. Old Testament: Genesis 2:18-24 18Then the Lord God said, “It is not good that the man should be alone; I will make him a helper as his partner.” 19So out of the ground the LordGod formed every animal of the field and every bird of the air, and brought them to the man to see what he would call them; and whatever the man called every living creature, that was its name. 20The man gave names to all cattle, and to the birds of the air, and to every animal of the field; but for the man there was not found a helper as his partner. 21So the Lord God caused a deep sleep to fall upon the man, and he slept; then he took one of his ribs and closed up its place with flesh.22And the rib that the Lord God had taken from the man he made into a woman and brought her to the man. 23Then the man said, “This at last is bone of my bones and flesh of my flesh; this one shall be called Woman, for out of Man this one was taken.” 24Therefore a man leaves his father and his mother and clings to his wife, and they become one flesh. Psalm: Psalm 8 1 O Lord our Governor, *        how exalted is your Name in all the world! 2 Out of the mouths of infants and children *        your majesty is praised above the heavens. 3 You have set up a stronghold against your adversaries, *        to quell the enemy and the avenger. 4 When I consider your heavens, the work of your fingers, *        the moon and the stars you have set in their courses, 5 What is man that you should be mindful of him? *        the son of man that you should seek him out? 6 You have made him but little lower than the angels; *        you adorn him with glory and honor; 7 You give him mastery over the works of your hands; *        you put all things under his feet: 8 All sheep and oxen, *        even the wild beasts of the field, 9 The birds of the air, the fish of the sea, *        and whatsoever walks in the paths of the sea. 10 O Lord our Governor, *        how exalted is your Name in all the world! Epistle: Hebrews 1:1-4; 2:5-12 1Long ago God spoke to our ancestors in many and various ways by the prophets, 2but in these last days he has spoken to us by a Son, whom he appointed heir of all things, through whom he also created the worlds.3He is the reflection of God's glory and the exact imprint of God's very being, and he sustains all things by his powerful word. When he had made purification for sins, he sat down at the right hand of the Majesty on high, 4having become as much superior to angels as the name he has inherited is more excellent than theirs. 5Now God did not subject the coming world, about which we are speaking, to angels. 6But someone has testified somewhere, “What are human beings that you are mindful of them, or mortals, that you care for them? 7You have made them for a little while lower than the angels; you have crowned them with glory and honor, 8subjecting all things under their feet.” Now in subjecting all things to them, God left nothing outside their control. As it is, we do not yet see everything in subjection to them,9but we do see Jesus, who for a little while was made lower than the angels, now crowned with glory and honor because of the suffering of death, so that by the grace of God he might taste death for everyone. 10It was fitting that God, for whom and through whom all things exist, in bringing many children to glory, should make the pioneer of their salvation perfect through sufferings. 11For the one who sanctifies and those who are sanctified all have one Father. For this reason Jesus is not ashamed to call them brothers and sisters, 12saying, “I will proclaim your name to my brothers and sisters, in the midst of the congregation I will praise you.” Gospel: Mark 10:2-16 2Some Pharisees came, and to test him they asked, “Is it lawful for a man to divorce his wife?” 3He answered them, “What did Moses command you?” 4They said, “Moses allowed a man to write a certificate of dismissal and to divorce her.” 5But Jesus said to them, “Because of your hardness of heart he wrote this commandment for you. 6But from the beginning of creation, ‘God made them male and female.' 7‘For this reason a man shall leave his father and mother and be joined to his wife, 8and the two shall become one flesh.' So they are no longer two, but one flesh. 9Therefore what God has joined together, let no one separate.” 10Then in the house the disciples asked him again about this matter. 11He said to them, “Whoever divorces his wife and marries another commits adultery against her; 12and if she divorces her husband and marries another, she commits adultery.” 13People were bringing little children to him in order that he might touch them; and the disciples spoke sternly to them. 14But when Jesus saw this, he was indignant and said to them, “Let the little children come to me; do not stop them; for it is to such as these that the kingdom of God belongs. 15Truly I tell you, whoever does not receive the kingdom of God as a little child will never enter it.” 16And he took them up in his arms, laid his hands on them, and blessed them.

Today, Morgan, Les, Martha, and Jeffrey discuss last Sunday's marking of the third anniversary of the trilateral security partnership between Australia, the United Kingdom, and the United States, also known as AUKUS. They discussed its inception and evolution over three years to accomplish its two pillars of providing Australia with nuclear-powered attack submarines; and collaborative development of advanced capabilities in six technological areas such as AI and quantum computing. After three years, what has gone well with AUKUS? What are the regulatory challenges to accomplishing Pillar II? How do our other allies in the Indo-Pacific feel about the impacts of AUKUS?Check out the answers to these questions and more in this episode of Fault Lines.Check out the sources that helped shape our expert's discussion!https://www.atlanticcouncil.org/blogs/new-atlanticist/on-the-third-aukus-anniversary-a-toast-to-itar-reform-and-a-call-to-keep-going/ https://breakingdefense.com/2024/09/aukus-other-agreements-likely-having-galvanizing-effect-in-beijing-aussie-ambasador/ https://asia.nikkei.com/Opinion/AUKUS-needs-more-than-submarines-to-make-its-bold-vision-a-reality https://www.csis.org/analysis/aukus-pillar-two-advancing-capabilities-united-states-united-kingdom-and-australia Follow our experts on Twitter: @lestermunson@morganlroach@marthamillerdcLike what we're doing here? Be sure to rate, review, and subscribe. And don't forget to follow @masonnatsec on Twitter!We are also on YouTube, and watch today's episode here: https://youtu.be/lzqw6_aBGY8 Hosted on Acast. See acast.com/privacy for more information.

Guest Host Anne Keala Kelly (Kanaka Maoli) speaks with Dan Taulapapa McMullin — an artist and poet from Sāmoa i Sasa'e (American Samoa) and an expert on the subject of the colonization of Pacific cultures. Keala and Dan spend time talking about American exploitation via tiki bars, a subject that Dan explored in his film, “100 Tikis.” “100 Tikis” is a 45-minute film/video appropriation art piece, part of an ongoing installation of works on the intersection of tiki kitsch and indigenous sovereignty. “100 Tikis” looks at Hollywood, colonialism, gender, militarism, and activism, through films, cartoons, songs, paintings, photographs, television shows, tourist ads, military propaganda, pornography, tiki bars, activist videos, home movies, and social media. Dan's artist book “The Healer's Wound: A Queer Theirstory of Polynesia” (2022) was published by Pu'uhonua Society and Tropic Editions of Honolulu for HT22 the Hawai'i Triennial. Their artwork has been exhibited at the Museum of Contemporary Native Art, Metropolitan Museum, De Young Museum, Musée du quai Branly, Auckland Art Gallery and Bishop Museum. Their film “Sinalela” (2001) won the 2002 Honolulu Rainbow Film Festival Best Short Film Award. “100 Tikis” was the opening night film selection of the 2016 Présence Autochtone in Montreal and was an Official Selection in the Fifo Tahiti Film Festival. Dan's art studio and writing practice is based in Muhheaconneock lands / Hudson, NY, where they live with their partner, and Lenape lands in Hopoghan Hackingh / Hoboken, NJ. More about Dan and links to his writing, films (including “100 Tikis”), paintings and sculpture/performance works: https://www.taulapapa.com/. For copies of “The Healer's Wound” (2024 2nd Edition) go to: https://tropiceditions.org/The-Healer-s-Wound-2 Production Credits: Tiokasin Ghosthorse (Lakota), Host and Executive Producer Anne Keala Kelly (Kanaka Maoli), Guest Host Liz Hill (Red Lake Ojibwe), Producer Karen Martinez (Mayan), Studio Engineer, Radio Kingston Tiokasin Ghosthorse, Audio Editor Kevin Richardson, Podcast Editor Music Selections: 1. Song Title: Tahi Roots Mix (First Voices Radio Theme Song) Artist: Moana and the Moa Hunters Album: Tahi (1993) Label: Southside Records (Australia and New Zealand) 2. Song Title: Pe A E Silva Artist: Pacific Soul CD: Pacific Soul (2012) Label: Pacific Dream Records AKANTU INTELLIGENCE Visit Akantu Intelligence, an institute that Tiokasin founded with a mission of contextualizing original wisdom for troubled times. Go to https://akantuintelligence.org to find out more and consider joining his Patreon page at https://www.patreon.com/Ghosthorse

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

This week on "Radio Architecture with Ilana Razbash", Ilana's special guest is Ilan El. Multidisciplinary designer Ilan El, trained and practised as an architect before moving to Australia in 2005 to join RMIT's Industrial Design Masters program. In 2010 he established ILANEL Design Studio, a product design practice located in Melbourne, specialising in the design and production of bespoke luminaires and large-scale light-based installations. His installations and work have been presented at the Melbourne Design Fair (2023), Melbourne Design Week (2017 - Departures, 2018 - Decoding Design, 2020 - Light+Life, 2021 - Wisdom of Objects, 2022 - Reflections, 2023 - Fragile); Globelight, Melbourne (2013 – 2016). His large-scale commissions include an interactive light sculpture, ORA, for the National Gallery of Victoria's Triennial (2020); An interactive lighting installation, 39 STEPS, for the Justin Art House Museum, Melbourne (2019); A backdrop lighting installation, SHIMMERING LIGHTS, for Save the Children Gala, New York (2016); A 13m multi-tiered light installation, DECO GRANDEUR for the Royal Bank Chambers, Melbourne (2015); as well as a variety of bespoke luminaires for high-end hotels and private residences across the globe.

Jessica Fuentes and William Sarradet discuss the redesign and expansion of the Arkansas Museum of Fine Art and the upcoming "Delta Triennial." "Traditionally, the Delta is a juried exhibition. This year AMFA decided to also have an invitational component. It still functioned as a juried exhibition, anybody could apply that fell within that geographic region, but the jurors also selected one artist from each of the states to be the invited artist." See related readings here: https://glasstire.com/2024/06/30/art-dirt-discussing-arkansas-delta-triennial/ If you enjoy Glasstire and would like to support our work, please consider donating. As a nonprofit, all of the money we receive goes back into our coverage of Texas art. You can make a one-time donation or become a sustaining, monthly donor here: https://glasstire.com/donate

This week Boston Art Podcast sits down with Boston Public Art Triennial's executive director, Kate Gilbert. What is the Triennial? What are they planning? How will this change Boston's art community? Listen to hear all of that and more. 

Tosin Oshinowo, Curator at the 2nd edition of the Sharjah Architecture Triennial, elaborates on the success of the edition and how they've attracted architects from across the globe to come to Sharjah and work together on sustainable architecture to better our future. Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.facebook.com/pulse95radio www.twitter.com/pulse95radio www.instagram.com/pulse95radio www.youtube.com/pulse95radio

Sharjah Architecture Triennial 2023 Public Programme Al Qasimiyah School, Sharjah Architecture Triennial (SAT) on Saturday, February 17, hosts a final public programme for its second edition (SAT02), The Beauty of Impermanence: An Architecture of Adaptability, which runs until 10 March. Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.instagram/com/pulse95radio www.facebook.com/pulse95radio www.twitter.com/pulse95radio www.instagram.com/pulse95radio

La recensione di Andrea Candiani su uno degli eventi d'arte più attesi della stagione non lascia scampo.

When you see a David Shrigley picture – at worst, you'll chuckle, at best you'll laugh out loud every time you think of it (which is sometimes years later.) The Shrigley universe is filled with badly drawn hands, everyday disappointment, and simple pleasures. In short, it's sublimely silly and pretty dark. Daniel speaks with the British artist during his Australian visit for the National Gallery of Victoria's Triennial.We meet up with Australian artist Daniel Boyd, fresh from his first major solo exhibition in Europe and who's just shown his work at the New York gallery that represents some high-flying international artists.And hear from Diana Al-Hadid, the Syrian-born US sculptor who's made stunning artworks in response to two 15th C. paintings owned by the National Gallery of Victoria – audience favourite The Garden of Love and a religious painting by Hans Memling.

Philipp Timischl is an Austrian contemporary artist, born in 1989. He lives and works in Paris. Numerous important galleries and museums have exhibited Philipp Timischl's work in the past. One of his works is currently on display at the National Gallery of Victoria in Melbourne, as part of the Triennial. Philipp Timischl creates hybrid objects made of static and moving images, which are usually presented in site-specific installations. A recurring theme in his work is power dynamics - often in relation to social class, queerness, race and the art world. - Philipp Timischl ist ein österreichischer Gegenwartskünstler, geboren 1989. Er lebt und arbeitet in Paris. Zahlreiche bedeutende Galerien und Museen haben die Arbeiten von Philipp Timischl in der Vergangenheit ausgestellt. Derzeit ist eines seiner Werke in der National Gallery of Victoria in Melbourne zu sehen, im Rahmen der Triennale. Philipp Timischl schafft hybride Objekte aus statischen und bewegten Bildern, die meist in ortsspezifischen Installationen präsentiert werden. Ein wiederkehrendes Thema in seiner Arbeit sind Machtdynamiken – oft in Bezug auf soziale Klassen, Queerness, Herkunft und die Kunstwelt.

Over the last two decades, the Swiss artist Franziska Furter has repeatedly addressed the weather as a theme in her work. This is also the case in her latest installation Gyrwint, which is currently on view at the Triennale in the National Gallery of Victoria in Melbourne. The power of nature is made tangible here with a huge carpet that shows a compilation of several infrared satellite images of hurricanes. The installation Haku floats above it - strands of glass beads that represent wafts of mist. - Die Schweizer Künstlerin Franziska Furter hat sich in den letzten zwei Jahrzehnten immer wieder mit dem Wetter als Thema ihrer Arbeiten beschäftigt. So auch in ihrer neuesten Installation Gyrwint, das derzeit an der Triennale in der National Gallery of Victoria in Melbourne zu sehen ist. Die Kraft der Natur wird hier greifbar gemacht, anhand eines riesigen Teppichs, das eine Zusammenstellung mehrerer Infrarot-Satellitenbilder von Wirbelstürmen zeigt. Darüber schwebt die Installation Haku - Stränge von Glasperlen, die Nebelschwaden darstellen.

NGV Triennial 2023 is a powerful and moving snapshot of the world today as captured through the work of over 120 artists, designers and collectives working at the forefront of global contemporary practice. Part of the exciting exhibition are three artists from the German-speaking part of Europe: Ulla von Brandenburg from Germany, Franziska Furter from Switzerland and Philipp Timischl from Austria. The German-Australian artist Petra Kleinherne is accompaning us in this special visit to the museum. - Seit 2017 findet in der National Gallery of Victoria, dem NGV, in Melbourne alle drei Jahre die Triennale statt. Eine Kunstausstellung, in der Gegenwartskunst gezeigt wird, eingegliedert in die bestehende Dauer-Ausstellung alter Meister, Romantiker, Impressionisten und Expressionisten oder asiatischer Kunst. Die Triennale ist eine kraftvolle und bewegende Momentaufnahme der heutigen Welt, eingefangen durch die Arbeit von über 120 Künstlern, Designern und Kollektiven, die an der Spitze der globalen zeitgenössischen Praxis arbeiten. Unter diesen Künstlern befinden sich auch drei Vertreter aus dem deutsch-sprachigen Europa: die deutsche Künstlerin Ulla von Brandenburg, die Schweizerin Franziska Furter und der Österreicher Philipp Timischl. Die Werke dieser drei Künstler sehen wir uns in einem speziellen Museumsbesuch an. Dabei hilft uns die in Melbourne lebende Kunstmalerin Petra Kleinherne.

They performed for NGV's Triennial which was a smash hit last December. The additional performance is due this month at NGV. - 中国系の血を引く二人のアーティストのコラボです。去年12月にはメルボルンの美術館NGVのイベントに参加しました。

In this episode we are joined by the acclaimed visual artist and costume designer, Ane Crabtree. Ane's substantial body of work includes her iconic, unmistakable designs for THE HANDMAID'S TALE (seasons one and two) as well as WESTWORLD (season one), and Apple TV's THE CHANGELING. As such, Ane has built a formidable reputation as a designer of the future and was described as one of Fast Company's 100 Most Creative People in Business in 2018, deemed so "for designing the apocalypse". Ane is a long standing collaborator with (previous guest of this show) Liam Young, including their most recent project PLANETARY REDESIGN which premiered at Venice Biennale in 2023. Ane also recently collaborated with Darren Aronofsky for POSTCARDS FROM EARTH which was made for The Sphere in Las Vegas. Her work reflects the rural roots of Kentucky and the rich influence of her Okinawan heritage as the backbone of her visual storytelling. In this inspiring and wide-ranging conversation, we discuss the theme of worldbuilding tand storytelling through costume design, includiing her work for THE HANDMAID'S TALE. We also explore Ane's creative and collaborative process, her journey from rural Kentucky to the peak of screen storytelling, the influence of her Okinawan heritage in her work and how she came to collaborate with Darren Aronofsky - and much more! About Ane Crabtree Ane Crabtree is a visual artist, painter, costume designer, and documentarian whose images conjure the hidden emotions behind the stories of memory, skewed reality, sense of place, and human nature. Her work in movies and television explores the use of deconstruction and dystopia, most notably in her original iconic designs for The Handmaid's Tale, seasons one and two. She is also responsible for The Sopranos pilot, Westworld season one, and Masters of Sex, seasons one and two. Inspired by the landscapes of reality, alchemy, nature, and direct documentation, Crabtree's approach to her designs explores the transcendence of the real, utilizing emotions as a conduit or emotional decoder for the audience. In 2018, Crabtree spoke at the United Nations, in support of the METoo movement, at the commemoration of The International Day to End Violence Against Women/Orange the World. She has been nominated for three Emmy Awards (2017, 2018, 2019)for her work on The Handmaid's Tale and Westworld (2016). She has been nominated for four Costume Guild Awards for PanAm (2012), Masters of Sex (2015), Westworld (2016), and winning for The Handmaid's Tale (2018). Her first solo exhibition was "Designs for Dystopia" at SCAD Museum of Fashion and Film, featuring her sketches, designs, and wall of inspiration from The Handmaid's Tale (2018). Her work for The Handmaid's Tale has been shown at pop up exhibitions for Vogue Magazine/The Public Hotel (2017), The Paley Center for Media (2017), and is a part of the permanent collection at The National Museum of American History at The Smithsonian Museum (2018). This work was also a part of the group exhibition, Designs for Different Futures at The Philadelphia Museum of Art (2019-2020), The Walker Museum of Art (2020-2021), and The Art Institute of Chicago (2021). Crabtree's work will soon be featured in a group exhibition, "Mother!" at The Louisiana Museum of Modern Art in Denmark (2021). Her most recent collaboration, with filmmaker Liam Young, for the National Gallery of Victoria Museum's Triennial (2020-2021), at MAAT in Lisbon (March 2021), and at the Shanghai Biennale (April 2021) features costumes in the short film "Planet City", directed and produced by Liam Young. Planet City is the first "design for utopia" for Crabtree. She served as costume designer, producer, and costume director for seven international artists, including herself. Her costumes for The Handmaid's Tale are now in the permanent collection of The Smithsonian Museum of American History.

'The Beauty of Impermanence: An Architecture of Adaptability.' Think about architecture and you probably think about tall buildings of steel and glass. But the theme of this year's Sharjah Architecture Triennial is design influenced by scarcity – and how we can build in a way that adapts to decreasing resources and hotter climates. Africa has been disproportionately impacted by climate change. The Triennial is designed as a platform for architects from the global south – allowing them to share ideas on sustainability and reuse. Africa Daily hears from the curator of the exhibition, Nigerian architect, Tosin Oshinowo – as well from reporter Ije Ndukwe who went to the opening week of the exhibition.

The Sharjah Architecture Triennial is now in full swing, with the second edition of the event looking to champion design and innovation from the region. Monocle's design editor, Nic Monisse, shares his reflections on the event, which is exploring how a culture of reuse in the Global South can help to deliver more resilient architecture across the globe.See omnystudio.com/listener for privacy information.

In this episode, I want to pass along a message to parents who have children in special education or who you suspect needs additional support. I talked with many of my colleagues in the field from across the nation about what they want parents to know, specifically what they want you to know that they can't say at an IEP meeting or as school personnel because of the repercussions they may face from their superiors. Sometimes we, as school psychologists, find ourselves in this kind of weird space intertwined between school politics and advocating for children and families in a way that may go against the grain. So, this episode is dedicated to all the parents who want to be empowered to ensure that your child is getting the best education possible and without the games. So tune in and take notes.  Resources Mentioned in This Episode: Alycia Anderson's Story: Disabling Ableismhttps://alyciaanderson.com/Wright's Law: https://www.wrightslaw.com/*EMAIL LIST*Click here to join my email list for more free content to help you on your parenting journey!or go to strongermindsstrongeryouth.com/jointhelist*REACH OUT & SHARE*Email me your stories to share with others parents just like you @ jessika@strongermindsstrongeryouth.com *CONNECT WITH ME ON SOCIAL MEDIA!!!* & *TAG ME IN YOUR STORIES!!!*#jessikashields or @strongermindsstrongeryouthGet Social to Stay Connected!!!FB: @StrongerMindsStrongerYouthInstagram: @StrongerMindsStrongerYouthLinkedIn: http://www.linkedin.com/in/jessikashieldsTo access more Podcast resources, visit strongermindsstrongeryouth.comThank you for listening!

Tosin Oshinowo is a Lagos-based architect and curator of the 2023 Sharjah Architecture Triennial. Titled "The beauty of Impermanence, an Architecture of Adaptability," this year's triennial considers design solutions built from conditions of scarcity and explores how this might impact sustainable design today. This interview was recorded in Sharjah during the opening weekend of the Triennial in mid November 2023, and the conversation began by addressing the triennial itself, before unfolding into a more personal discussion of the contradictions that emerge between the exhibition and Oshinowo's practice.---Book tickets for upcoming Architecture on Stage lectures by Duncan Lewis (Tuesday November 21st) and Sam Chermayeff with Jack Self (Wednesday November 29th). Hosted on Acast. See acast.com/privacy for more information.

#265: Beckham, Gaffa Banana, Silent Walking It's been a full on week, and we're here to give you a little reprieve if you need it. Fat Bear Week is here to help us, we have a winner, she is amazing, and we celebrate Grazer. Meanwhile Bang Fam are rallying around the Peregrine Falcons after their fortunes took a turn. The conceptual art piece “Comedian” (a banana gaffa taped to a wall) is coming to Melbourne for the NGV's Triennial, so it's time for Myf's critical art eye. And for Zan to wonder who's hungry. 90's sitcoms are back, but why? Frasier is recreating the nostalgia to the letter, while Jerry Seinfeld has been hinting of some sort of return. We explain all. Looking back seems to be the way we're moving forward across culture in general, with none doing it better or bigger this week than the Beckham docu-series on Netflix. We dig into this epic story of Posh and Becks, football and fantasy, and a heavy dose of bad new millenium fashion. And a great read on how the internet isn't fun anymore has crystallized a lot, and made us wistful for the world wide web. Could switching it all off and going silent walking be the answer? Myf is banging on about the second series of Billie Piper's brilliant series I Hate Suzie, while Zan is reading Kazuo Ishiguro's classic The Remains of the Day. And did you know Bang On is now on YouTube? You can now SEE us be silly duffa's. Check it out via the link below. Show notes: Fat Bear Week winner: https://www.abc.net.au/news/2023-10-11/fat-bear-week-2023-winner-128-grazer-runnerup-32-chunk/102962228 Peregrine Falcons update: https://www.abc.net.au/news/2023-10-10/collins-street-falcon-eggs-not-viable/102954050 Banana art: https://www.abc.net.au/listen/programs/melbourne-breakfast/maurizio-cattelan-comedian-at-ngv/102954922 Frasier reboot: https://www.youtube.com/watch?v=oz--6tGukuw&ab_channel=ParamountPlus Seinfeld return? https://www.theguardian.com/tv-and-radio/2023/oct/10/seinfeld-return-sitcom-jerry-seinfeld-wang-theatre-boston Beckham: https://www.youtube.com/watch?v=nUVNbJMWi_c&ab_channel=Netflix Why the Internet Isn't Fun Anymore: https://www.newyorker.com/culture/infinite-scroll/why-the-internet-isnt-fun-anymore Silent Walking: https://www.abc.net.au/news/2023-10-08/silent-walking-taking-off-on-tiktok-boosting-youth-mental-health/102938224 I Hate Suzie Too: https://www.youtube.com/watch?v=YEfLWmww7O0&ab_channel=Max The Remains of the Day: https://www.goodreads.com/book/show/28921.The_Remains_of_the_Day Bang On now on YouTube: https://www.youtube.com/@abcaustralia/videos Bang Back to us: bangon.podcast@abc.net.au Bang On is an ABC podcast, produced by Double J. It is recorded on the lands of the Wurundjeri people of the Kulin nation. We pay our respects to elders past and present. We acknowledge Aboriginal and Torres Strait Islander peoples as the First Australians and Traditional Custodians of the land where we live, work, and learn.

Being in the property management industry there is always a to do list! Without having the right support in your business you could spend hours on certain tasks which doesn't allow room for you to focus on other areas of your business. So what type of support can you outsource so you can take back your time?In this episode of The Property Management Podcast I chat to Shannon Welch who is the owner of Property Assist and provides outsourcing services with Property Condition Reports, Final Bond Inspections, Routine Inspections and everything in between.Shannon has been in the industry since 2006 excelling in all areas relating to Property Management. Shannon continues to complete her CPD requirements each year and after completing her Diploma in Property Services, she was awarded her Triennial in 2019. This has allowed Property Assist to uphold their incredible reputation within the industry and continue to be the only large scale outsourcing company in Perth to be run by a Licensed Agent. You can be rest assured that all reports produced by Property Assist are compliant, while upholding this certification.“Use our time to save yours” - ShannonWe explore:How outsourcing can save you timeHow Shannon started what she is doing now and her journey in Property ManagementHow she juggles the business and being a mumHow outsourcing can help create better performing property managersThe types of tasks you can outsource in property managementHow freeing up your time can allow you to focus on building relationshipsResourcesProperty Management Growth School: https://courses.thatpropertymum.com.au/TPM-BDMSchoolThat Property Mum Courses: https://www.thatpropertymum.com.au/courses/The PM Accelerate Membership: https://courses.thatpropertymum.com.au/accelerateBook a Strategy Call with Kylie: https://calendly.com/kylie-tpm/coaching-callThe Tarsi Way - https://thetarsiway.com) PMVA - https://www.pmva.com.au/Inspection Express - https://ipropertyexpress.com/book-a-demo/ (Mention The Property Management Podcast and get 50% off the cost of your 360-degree tech)Connect with Shannon:Website: https://propertyassistwa.com.au/Facebook: https://www.facebook.com/ShannonwelchPM/Instagram: https://www.instagram.com/shannonwelch_/Connect with Kylie:Instagram -...

Bulletproof Dental Practice Podcast Episode 309 Hosts: Dr. Peter Boulden  Guests: Chris Ronzio Key Takeaways:  Introduction of Chris Ronzo: Founder of Triennial, author of "The Business Playbook" and "100 Hacks to Improve Your Business," and host of the podcast "Organizing Chaos” The Genesis of Bulletproof Dental: Chris Ronzo discusses the inception of the idea to adapt the IP from Bulletproof for dentistry, highlighting the challenges of maintaining and financing software Industry Agnostic Approach: Chris shares his industry-agnostic approach to developing processes, procedures, playbooks, and business strategies, drawing from his diverse business experiences Chris's Background: Chris delves into his entrepreneurial journey, including his start in the video production industry and his successful transition to Trainual Game-Changing in Dentistry: Chris discusses being ahead of the curve with configurable software and his motivation to create a training software platform Trainable Software: Exploring the software-based platform "Trainual" and its impact on various businesses, with a focus on the four key areas: Profile, Policies, Procedures, and Playbooks Tailoring to Dentistry: Chris emphasizes the uniqueness of dentistry as a combination of artistry and clinical practice, underscoring challenges related to hiring, firing, attrition, and retention in the dental field Building Scalability: The importance of employee experience, customer experience, and business experience in scaling a dental practice, along with the significance of training and retention Protecting Dentistry: The rationale behind the name "Bulletproof" podcast, with a mission to empower dentists against industry consolidation through education, IP, tactics, and tools Business Information Workshop: Highlighting the value of capturing comprehensive business information and setting clear expectations to foster alignment and accountability Clear Communication: Chris emphasizes the role of setting clear expectations in a fast-paced dental office, enabling success and minimizing misunderstandings Simplification for Success: Chris shares his approach of explaining concepts in simple terms to facilitate understanding and growth Minimizing Friction: Chris addresses challenges related to onboarding and aims to enhance the user experience The Vision for Business: Chris discusses his vision of a business as a tool for life enhancement and offers a $100 discount coupon (code: "Bulletproof") for those signing up at BPTrainual.com   References: Bulletproof Mastermind  Bulletproof Summit Mighty Networks: Bulletproof Dental PracticeTrainual  Tweetable:   Four P's: • Profile of your Business – Mission, Vision, and Background • People – Roles and Responsibilities • Policies – Rules of the workplace • Processes to deliver the product – The step-by-step place on how you do and what you do.  

In this episode,  we talk about special education timelines. It's easy to get taken advantage of when you lack knowledge and I never want that to happen to you. I want you to be equipped with knowledge so that you can exercise your rights and ensure that your child gets access to supports they may be eligible for.  So, I breakdown the major timelines for you in this show. This is going to benefit the parent who is thinking about asking for an Initial special education assessment, asking for additional assessments, or generally what to expect for meeting deadlines. Resources Mentioned In this Episode:Federal Timelines for Special Education: https://sites.ed.gov/idea/files/policy_speced_guid_idea_iep-qa-2010.pdfWrightslaw: https://www.wrightslaw.com/blog/determining-eligibility-how-many-days-is-60-days/*EMAIL LIST*Click here to join my email list for more free content to help you on your parenting journey!or go to strongermindsstrongeryouth.com/jointhelist*REACH OUT & SHARE*Email me your stories to share with others parents just like you @ jessika@strongermindsstrongeryouth.com *CONNECT WITH ME ON SOCIAL MEDIA!!!* & *TAG ME IN YOUR STORIES!!!*#jessikashields or @strongermindsstrongeryouthGet Social to Stay Connected!!!Twitter: @Official_SMSYFB: @StrongerMindsStrongerYouthInstagram: @StrongerMindsStrongerYouthLinkedIn: http://www.linkedin.com/in/jessikashieldsTikTok: @Official_SMSYTo access more Podcast resources, visit strongermindsstrongeryouth.comThank you for listening!

Advisor Mona El Mousfy talked to Louis Denham from the Morning Majlis Team about how important the Sharjah Architecture Triennial event is and how the subject of sustainability is becoming much more involved in architecture today. Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.facebook.com/pulse95radio www.twitter.com/pulse95radio www.instagram.com/pulse95radio www.youtube.com/pulse95radio

Louis Denham from the Morning Majlis team had the privilege of interviewing George Arbid, the curator of the Sharjah Architecture Triennial, who discussed the importance of archives and also how the world of architecture is adopting sustainability. Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.facebook.com/pulse95radio www.twitter.com/pulse95radio www.instagram.com/pulse95radio www.youtube.com/pulse95radio

As a collaborative team, Dean Bensen and Demetra Theofanous create narrative pate de verre wall sculptures utilizing nature as a vehicle to communicate environmental challenges and metaphors for the human experience. Their work connects the viewer with the natural world and instills an appreciation for its interconnectedness to humanity and its inherent fragility.    Says Bensen and Theofanous: “Our decaying leaf installations reflect on our impermanence and vulnerability. What we do has impact – often unforeseen and unmeasured. A pile of leaves hit by a gust of wind is a metaphor for this uncertainty in our future. It expresses that pivotal moment of change, when things we took for granted are suddenly gone. Existing peacefully with others and protecting our natural resources is a tenuous balance, highlighting our interdependence on others and the earth.” Bensen and Theofanous work both independently and as a collaborative team. Their work has been exhibited nationally and internationally and is represented in numerous private and public collections. Recent exhibitions include participating 2018 at the Ming Shangde Glass Museum in China, where they received an award from the Chinese government. Another large-scale leaf installation was on view 2022-‘23 in an exhibition at the Wadsworth Atheneum Museum in Hartford, Connecticut, curated by Brandy Culp. Attending The College of Idaho, Bensen graduated with a BA in art in 1990. His fascination in glass started a hunger for what he had been missing since his youth, an immersion into the exploration and development of his creative side. Upon receiving his degree, he moved to Ketchum/Sun Valley, Idaho, where he continued working in glass at a local studio. In 1997, the artist returned to California to pursue glassblowing as a full-time career. Immersing himself in the Bay Area glass scene, Bensen began working for many local artists and teaching at places such as San Jose State University, Palo Alto High School, Corning Glass School, Bay Area Glass Institute (BAGI), and Public Glass.  In 2002, Bensen developed a body of work that would become the foundation for his ideas based on the existence of the old growth redwood forest. Using both clear glass and color, he focused initially on environmental concerns. As his concepts evolved, Bensen's work grew further, investigating the life cycles in nature, their significance, and the interplay between the earth and various species. Each slice of murrine served to highlight one of nature's footprints, marking the passage of time and a glimpse of history, the rings of life in a felled tree. Bensen has taught extensively, received a scholarship to attend Pilchuck glass school, and his first solo show, Nature's Footprints, received a full-page review in the San Francisco Chronicle. His work has been widely exhibited, including at the Imagine Museum, San Francisco Airport Museum, San Luis Obispo Museum of Art, the Oakland Airport Museum, and the Ming Shangde Glass Museum in China. He has also worked on a team creating several projects for renowned artist Dale Chihuly, including an enormous chandelier in Dubai.  Theofanous was immersed in the arts from a very young age, but this thirst for expression was temporarily diverted when she received her business degree from the Haas School of Business at UC Berkeley. She graduated and spent time working in San Francisco only to realize there was something missing in her work, and she needed to find a way to return to her creative roots. In 2004, Theofanous entered the medium of glass through flameworking and developed a method for weaving with glass that provides a continuing basis for narratives and investigation in her work. She also utilizes the ancient technique of pate de verre, which offers a detailed and painterly approach to casting that is well suited to creating hyper-realistic sculpture inspired by the natural world. Some of her sculptures now combine this cast glass technique with flameworked sculpture.  Theofanous has been internationally recognized for her woven glass nest and flora sculptures, and is included in numerous private collections, as well as in the permanent collection of the Racine Art Museum. Notable awards include: a Juror's Choice Award from renowned collector Dorothy Saxe, a merit award from Paul Stankard, a NICHE Award, a Juror's Choice Award at the San Luis Obispo Museum of Art, the Leigh Weimers Emerging Artist Grant, two juror awards from Carol Sauvion, Executive Producer of Craft in America, and an Award of Excellence juried by the Detroit Institute of the Arts in Habatat Gallery's 50th International Exhibiton . She has exhibited internationally, including at the Triennial of the Silicate Arts in Hungary, San Francisco Museum of Craft + Design, National Liberty Museum, Alexandria Museum of Art, and twice in the Crocker Art Museum's prestigious Crocker-Kingsley Biennial. As an educator she has taught at top institutions such as Pratt Fine Arts Center and Pittsburgh Glass Center. She serves as Board President of the Glass Alliance of Northern California, was as a Board Member of the Glass Art Society, and is the President of the Art Alliance for Contemporary Glass. Theofanous and Bensen met in 2004, and their friendship soon evolved into a partnership, both in and outside of the studio. In 2017, during an artist residency at the Marin Museum of Contemporary Art, they began to merge their sculptural works culminating with an exhibition of woven glass wall tapestries titled Intertwined. Their collaborative work is now represented by some of the country's finest galleries, has been exhibited at numerous museums, and is in the permanent collection of the Imagine Museum and the Jordan Schnitzer Family Foundation. Says Theofanous: “Technique merges with narratives in our work, to express metaphorical bridges between nature and human beings. Inspired by the storytelling tradition of woven tapestry and basketry, I see myself as weaving with glass to connect the viewer with the story of the natural world. Through the delicate leaves in each piece, I seek to depict the cycle of life: growth, discovery, change and renewal. I use the fluidity and fragility of glass to express the beauty and vulnerability inherent in the human experience.”  Theofanous and Bensen will have a solo exhibition at Trifecta Gallery in Lexington, Kentucky, in fall of 2023.  

Over 100 international artists will participate in the NGV Triennial 2023 exhibition at the end of the year in Melbourne. An Indian artist from Mumbai, Shakuntala Kulkarni, has been selected to present her artwork 'Armour of the Brides'. It is through her work that she is fighting harassment and mental stress suffered by bride's families, as well as challenging India's patriarchal marriage arrangements.

Home. It's where the heart is, where we feel safe and secure. And in New York City, home takes on a whole new meaning. The Museum of the City of New York is launching its new contemporary photography triennial, New York Now: Home, on March 10th. This inaugural exhibition explores the different ways in which we make homes in and around the five boroughs. Co-curated by Thea Quiray Tagle and Sean Corcoran, this event marks the beginning of the Museum's centennial year programming. As the world center of photography, New York City has inspired generations of image-makers. And as the storyteller of the city, the Museum of the City of New York has collected and exhibited the best of this work for a century. With New York Now, they'll continue this tradition, engaging with themes and issues relevant to New York and the experience of urban life. Lens-based work has a unique power to connect the artist, subject, and viewer in a way that's unlike any other medium. Through this and future installations of New York Now, the Museum will showcase both established and emerging talents, reflecting a range of perspectives. ~~~ Opens March 10, 2023 Show Notes: New York Said

This episode is also available as a blog post: https://thecitylife.org/2023/03/08/museum-of-the-city-of-new-york-presents-new-york-now-home-a-new-photography-triennial/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

We visit the event dedicated to poster art and design in the Finnish city. There, we find out why, even in the digital age, this art form continues to play an important role in our lives.

We visit the event dedicated to poster art and design in the Finnish city. There, we find out why, even in the digital age, this art form continues to play an important role in our lives. See omnystudio.com/listener for privacy information.

You're heard quite a bit about biennials on the Art Angle recently—the Whitney Biennial, the Venice Biennial, and, most recently, Documenta, which comes once every five years to Kassel, Germany. On their own, each of these are closely watched events by art mavens looking to spot national and global trends. But they are also just the tip of the iceberg when it comes to a circuit of Biennial and Triennial art events that girdle the earth, popping up from Athens to Bangkok to Cuenca to Dakar to, well—you could keep going on down through the alphabet. With the newest Documenta now open, we asked ourselves: What if you could go to every one of these biennials? What kinds of trends would you see? To answer the question, our writers looked at the artists included in hundreds of biennials curated since the last Documenta in 2017, to find out which names came up most. The answers that emerged were surprising, frankly, even to us, revealing a list of Biennial Art superstars who have dominated the conversation among curators in the last five years. These figures make art cut to fit that circuit. They even have their own means of economic support. To talk about the findings of the Biennial Art project, today we have two of our writers who worked on it in conversation: Ben Davis, our National Art Critic, and Kate Brown, our European editor.  You can read the full project, which includes an extremely long list of all the artists in our data set and an essay on what it means to be a biennial artist on Artnet News. 

     In this section, Moses directs Israelite farmers to pay the triennial tithe, which God intended for the Levites, strangers, orphans and widows in their towns (Deut 26:12-15). Then Moses closes this section by directing all Israel to obey the Lord and walk with Him, and that if they do, God will bless and exalt them above all the nations (Deut 26:16-19). Reminder to Give the Triennial Tithe      Moses opens this section, saying, “When you have finished paying all the tithe of your increase in the third year, the year of tithing, then you shall give it to the Levite, to the stranger, to the orphan and to the widow, that they may eat in your towns and be satisfied” (Deut 26:12). In a previous section, Moses had addressed the annual tithe of produce that was to be taken to the tabernacle/temple and eaten with the family and Levites (Deut 14:22-27). Here, Moses references the tithe that was taken every third year and deposited—not at the sanctuary—but in the Israelite's own town. This triennial tithe was for the less fortunate and vulnerable within the community (see Deut 14:28-29). It's likely the food was stored in city storerooms where the poor could go and draw from those resources over a period of time and not merely on one occasion.      God had blessed Israel with freedom (Deut 5:6), land (Deut 4:1; 9:6), and the ability to make a profit (Deut 8:18). Giving the tithe was a test of their heart, to see if they loved the Lord and would trust Him as their Provider. When it came to helping the Levite, the alien, the orphan, and the widow, Israelites were to be generous and open-handed when surrendering the tenth of their labor-produce. This tithe would secure the needs of the economically vulnerable in the community. By means of this contribution, obedient-to-the-Word Israelites would serve as conduits of God's grace. When the Israelite farmer followed God's Word and gave this tithe to help the Levite, the alien, the orphan, and the widow, he revealed the two-dimensional way his mind and will operated as he looked upward to the Lord in faith and then acted outward for the benefit of others.      Moses continued, saying, “You shall say before the LORD your God, ‘I have removed the sacred portion from my house, and also have given it to the Levite and the alien, the orphan and the widow, according to all Your commandments which You have commanded me; I have not transgressed or forgotten any of Your commandments” (Deut 26:13). The Israelite farmers, after setting aside this tithe, were to make a declaration “before the LORD” in which they stated their faithful obedience to God's directive. Daniel Block believes the statement was made at the tabernacle/temple, saying, “After Israelite farmers have demonstrated covenantal loyalty to Yahweh by taking care of the poor, they are to make a pilgrimage to the central sanctuary and perform the verbal ritual that follows.”[1] However, Peter Craigie holds that the statement was probably made at the Israelite's home, saying, “After distributing the tithe, the worshipper made a declaration before the Lord your God; since the words were probably to be spoken in the settlements, not at the central sanctuary, these words may indicate that this worship and declaration in the third year of settlement were performed in the home.”[2] This latter view makes more sense, since the food that was set aside by the farmer was handed over to the local residents.      The collection and giving of the tithe of produce every third year was an act of loyal obedience by the Israelite farmer. Apparently, it was collected and stored at the farmer's home until the appropriate time when it was handed over. Moses calls this tithe “the sacred portion” because it was sacred to the Lord, for His glory and the benefit of His people. The tithe of produce was to be held on deposit in the Israelite's home until the day it was delivered to the Levite and the alien, the orphan, and the widow in the community. Here, giving to God's needy people was the same as giving to God Himself; an identification truth we find elsewhere in Scripture (Matt 25:34-40; Acts 9:1-4). Earl Kalland states: "Being sacred, the tenth is definitely not for the donor's use. This sacred tithe was not conceived of as merely a secular tax for the welfare of the poor but as an act inspired by the Lord. Both the giving of it by the donor and the reception of it by the Levite or underprivileged were spiritual acts, and the tithe itself was to be recognized as holy."[3]      Additionally, the Israelite was to say, “I have not eaten of it while mourning, nor have I removed any of it while I was unclean, nor offered any of it to the dead. I have listened to the voice of the LORD my God; I have done according to all that You have commanded me” (Deut 26:14). The offering of the tithe was given to God and others, not because the offerer had produced it by means of his own hard work and clever industry, but because God had blessed him, both with the land and the power to make wealth. Once the tithe was dedicated to God, it was to be treated as sacred and could not be touched for any other purpose. That the farmer had not eaten any of the tithe while mourning, nor removed any of it while unclean, nor offered it to the dead, all seems to refer to Canaanite pagan practices that were forbidden by God. Eugene Merrill states: "The best understanding here is that he had not participated in use of the tithe while engaged in pagan rites of fertility or sympathetic magic. Such rites were characteristic of Canaanite worship as a means of inducing the underworld deities to fertilize the soil and guarantee a bountiful harvest. They would include the presentation of offerings and a sacred drama in which weeping and lamentation would play a part (cf. Ezek 8:14)…Ordinary mourning occasioned by death was not in view here, however, for the offerer was to disclaim having made any offering to the dead. This no doubt is to be understood in terms of Canaanite ritual in which deities such as Baal who had been consigned to the Netherworld were sustained by food offerings until they could revive and return to their procreative function on the earth."[4]      Having declared covenant loyalty to the Lord, the Israelite was to ask God to fulfill His Word to them by blessing their efforts, saying, “Look down from Your holy habitation, from heaven, and bless Your people Israel, and the ground which You have given us, a land flowing with milk and honey, as You swore to our fathers” (Deut 26:15). Though the Israelite was to address God in heaven, it was understood that God was everywhere present (Psa 139:7-10; Isa 66:1-2). The request for God to bless His people was in keeping with His promise to them. The blessing included both His people and the land He'd given to them. The land which God was giving to His people was of particular interest to the Lord, as He'd promised it to the patriarchs and their descendants (Gen 17:7-8; 26:3-4; 28:13-14). Moses described it as “a land for which the LORD your God cares; the eyes of the LORD your God are always on it, from the beginning even to the end of the year” (Deut 11:12). God's blessing upon His people did not mean everyone would receive equal outcomes, as social and economic stratification continued throughout the nation. Rather, it meant all would be cared for under Yahweh's protections and provisions. Directive to Obey All the Lord's Commands      Having discussed Israel's obligations after entering the land of Canaan, Moses here calls his hearers back to the present, and the primary concern of living in obedience to all God's directives. Moses states, “This day the LORD your God commands you to do these statutes and ordinances. You shall therefore be careful to do them with all your heart and with all your soul” (Deut 26:16). Though Moses had been speaking, what was being communicated was the Word of God; saying, “This day the LORD your God commands you to do these statutes and ordinances” (Deut 26:16a). Adhering to these directives meant they were following God.      Furthermore, obedience to God implied they'd heard His Word and committed it to their hearts. This was not a one and done event. If Israel was to display covenant loyalty, it meant nothing less than a lifelong devotion to learning God's Word and then applying it by faith to every aspect of their lives, whether marriage, family, work, war, economics, social activities, judicial matters, or religious duties. For the committed Israelite, it meant “his delight is in the law of the LORD, and in His law he meditates day and night” (Psa 1:2). He says, “O how I love Thy law! It is my meditation all the day” (Psa 119:97). Unfortunately, most of Israel's history was marked by disobedience, and this grieved the Lord (see Psa 81:11-14).      Having heard God's commitment to His people and providing directives for them to follow, the people were to recognize the solemnity of their oaths, as Moses states, “You have today declared the LORD to be your God, and that you would walk in His ways and keep His statutes, His commandments and His ordinances, and listen to His voice” (Deut 26:17). Having agreed to the terms of the covenant, God then promised to bless them if they kept His directives. Moses said, “The LORD has today declared you to be His people, a treasured possession, as He promised you, and that you should keep all His commandments; 19 and that He will set you high above all nations which He has made, for praise, fame, and honor; and that you shall be a consecrated people to the LORD your God, as He has spoken” (Deut 26:18-19).      In this statement, both God and Israel promised to keep their part of the covenant agreement. Israel was to learn and faithfully observe God's directives. This was true for the generation that Moses was addressing, as well as subsequent generations born into the covenant community. If Israel would walk with the Lord, He would elevate them above all other nations. The result would be that Israel receive “praise, fame, and honor” by the other nations. Earl Radmacher states, “These verses conclude the legal corpus of Deuteronomy (12:1–26:19) in which Moses developed and applied the laws of the Book of the Covenant to a new situation, as Israel was about to enter the land. It is also an appropriate anticipation of the next section with its focus on covenant renewal (27:1–30:20).”[5] This last statement anticipates the blessings in Deuteronomy 28:1-14 that God promised to pour out on His people if they would walk with Him and obey His commands. Israel Past, Present, and Future      God called Abraham into a special relationship (Gen 12:1-3; 15:1-18), and through his descendants, God would form a special nation (Gen 17:7-8). Abraham's descendants went into Egypt, where they stayed for 400 years (Gen 15:13; 46:1-4; cf. Ex 12:40). Afterwards, God called Israel out of Egypt in 1445 BC under the leadership of Moses. When that happened, God created the nation of Israel (Isa 43:1), which He intended to be His holy people (Deut 7:6), to walk with Him in righteousness (Deut 5:33; 8:6). Under the Mosaic Law, Israel would know blessing if they obeyed God's commands (Deut 28:1-15) and cursing if they did not (Deut 28:16-68). After Moses died, God brought the Israelites into the land of Canaan (i.e., the land promised to Abraham) under the leadership of Joshua (Deut 31:23; Josh 1:1-9), and there the land was divided, giving a portion to each of the descendants of Jacob. After Joshua died (Josh 24:29-31), Israel repeatedly fell into idolatry and suffered divine discipline for their rebellion (read Judges). This went on for over 300 years as Israel fell into a pattern of idolatry. The period of the Judges was marked by people who did not obey the Lord, but “did what was right in their own eyes” (Judg 17:6; 21:25). Samuel was the last of Israel's judges, and then the people cried for a king because they wanted to be like the other nations (1 Sam 8:4-5). God gave them their request (1 Sam 8:22), and Saul became the first king in Israel (1 Sam 10:1). Though Saul started well, he quickly turned away from the Lord and would not obey God's commands. Saul reigned for approximately 40 years and his leadership was a failure (1 Sam 13:1; cf. Acts 13:21). Later, God raised up David to be king in Israel (1 Sam 16:1-13), and David reigned for 40 years and was an ideal king who followed God and encouraged others to do the same (1 Ki 2:10-11). God decreed David's throne would be established forever through one of his descendants (2 Sam 7:16; Psa 89:3-4, 34-36), and this is Jesus (Luke 1:31-33). After David died, Solomon reigned for 40 years (1 Ki 2:12; 11:42-43), and though He was wise and did many good things (ruled well, built the temple, wrote Scripture, etc.), he eventually turned away from God and worshiped idols (1 Ki 11:1-10), and the kingdom was divided afterward (1 Ki 11:11-41).      Solomon's son, Rehoboam, ruled over the two southern tribes (Judah) and Jeroboam ruled over the ten northern tribes (Israel). Israel—the northern kingdom—had 19 kings throughout its history and all were bad, as they led God's people into idolatry (i.e., the “sins of Jeroboam” 1 Ki 16:31; 2 Ki 3:3; 10:31; 13:2). The ten northern tribes came under divine discipline because of their idolatry and were destroyed by the Assyrians in 722 BC. Judah—the southern kingdom—had 20 kings throughout its history and 8 were good (some more than others), as they obeyed God and led others to do the same (they were committed to the Lord like David, 1 Ki 15:11). However, Judah repeatedly fell into idolatry—as the 10 northern tribes had done—and were eventually destroyed by the Babylonians in 586 BC. The dispersion of Israel was promised by God if they turned away from Him and served other gods (Deut 28:63-68). Since the destruction by Babylon, Israel has been under Gentile dominance (Luke 21:24; Rom 11:25). After a temporary regathering under Ezra and Nehemiah, Israel continued under Gentile dominance with the Medes & Persians, Greeks, and Romans. Because of their rejection of Jesus as Messiah, God disciplined Israel again in AD 70, and the Jews were scattered all over the world (Jam 1:1; 1 Pet 1:1). Jesus' pronouncement of judgment was, “Jerusalem, Jerusalem, who kills the prophets and stones those who are sent to her! How often I wanted to gather your children together, the way a hen gathers her chicks under her wings, and you were unwilling. 38 Behold, your house is being left to you desolate! 39 For I say to you, from now on you will not see Me until you say, “Blessed is He who comes in the name of the Lord'” (Matt 23:37-39). The apostle Paul tells us, “a partial hardening has happened to Israel until the fullness of the Gentiles has come in; 26 and so all Israel will be saved; just as it is written, ‘The Deliverer will come from Zion, He will remove ungodliness from Jacob'” (Rom 11:25-26). Israel will be restored as God's special people when Messiah returns to establish His kingdom on earth (Rev 19:11-21; 20:4-6). Jack Deere states: "Through disobedience and rebellion, generation after generation of Israelites forfeited their right to be exalted over the nations. But Isaiah wrote that Israel's rebellion would not continue forever, for the Lord will raise up a generation of faithful Israelites in the future who will enjoy God's grace in a golden age of blessing (Isa 60–62). That age is commonly called the Millennium."[6]   [1] Daniel I. Block, The NIV Application Commentary: Deuteronomy, ed. Terry Muck (Grand Rapids, MI: Zondervan, 2012), 605. [2] Peter C. Craigie, The Book of Deuteronomy, The New International Commentary on the Old Testament (Grand Rapids, MI: Wm. B. Eerdmans Publishing Co., 1976), 322–323. [3] Earl S. Kalland, “Deuteronomy,” in The Expositor's Bible Commentary: Deuteronomy, Joshua, Judges, Ruth, 1 & 2 Samuel, ed. Frank E. Gaebelein, vol. 3 (Grand Rapids, MI: Zondervan Publishing House, 1992), 156. [4] Eugene H. Merrill, Deuteronomy, vol. 4, The New American Commentary (Nashville: Broadman & Holman Publishers, 1994), 336. [5] Earl D. Radmacher, Ronald Barclay Allen, and H. Wayne House, Nelson's New Illustrated Bible Commentary (Nashville: T. Nelson Publishers, 1999), 260. [6] Jack S. Deere, “Deuteronomy,” in The Bible Knowledge Commentary: An Exposition of the Scriptures, ed. J. F. Walvoord and R. B. Zuck, vol. 1 (Wheaton, IL: Victor Books, 1985), 309.

Post-pandemic, or just ʻcuz, toqa designs blow your eyes out with color and make you feel great. Aiala Rickard and Isabel Sicat source deadstock fabric in the Philippines. Thatʻs perfectly good fabric that is no longer produced, so every season has a finite amount of raw material. Toqa shirts, hats, blouses, bags, wraps, dresses, etc. feel great to wear. To cut waste, everything is made to order in the Philippines. Toqa recently held a Panel, Pop-up and Party at the very conducive Kaimana Hotel (apparently under enlightened management.) In this episode, youʻre dropping into toqaʻs installation at Foster Garden and hearing the panel at the Pop-up Party. Tough audio? Just flow with it, youʻll get the feeling. toqa's interactive exhibit at Foster Garden in Honolulu is called Midnight Smoothie, itʻs part of the Hawaiʻi Triennial 2022, E Hoʻomau no Moananuiakea. Join toqa at Foster Garden for a twilight viewing May 15 and 16, 2022, arranged by Hawaiʻi Triennial. Evening tours will highlight other Triennial artists, for example, Ai Weiwei. His works on the Gardenʻs upper field are moving, indeed. This past week, in Hawaiʻi we so enjoyed the 59th Merrie Monarch Hula Competition in Hilo. With this in mind, next up this Aloha Friday, I'll post an interview with kumu hula (hula teachers) Hokulani Holt and Cody Pueo Pata. Theyʻll explain about a convention of hula masters that was held in 2021, The resulting declaration is designed to protect this precious art form for future generations. As always, music from Hawaiʻi artists. Nick Kurosawa + Ohtoro. Tumult the Day https://zenburecords.bandcamp.com/track/tumult-the-day FRNT BZNZZ. My House Under the Overpass. https://open.spotify.com/track/1a6ejTcbl1zIMpHECBaNP3 Maryanne Ito. How I Feel. https://alohagotsoul.com/products/maryanne-ito-live-at-the-atherton-ags-021-r Nick Kurosawa + Ohtoro. Plantated. https://zenburecords.bandcamp.com/track/plantated Super Groupers. Make Today Great with Punahele. https://open.spotify.com/artist/5GlMa5U6lNSHAPHdRh40Mf Toqa Midnight Smoothie soundtrack. Ohtoro. Is All a Dream with Montclaire https://zenburecords.bandcamp.com/album/kumamoto-lp ❤️ Mahalo for your artistry!!

Heading south from Honolulu today to Australia---like most places, a land still reckoning with its history. In 1972, four aboriginal Australian men set up umbrellas outside the old Parliament House in Canberra. They called it the Aboriginal Tent Embassy because they felt treated like aliens in their own homeland and were demanding land rights. That protest mushroomed, footage was viewed in 86 countries, it is the longest running continuous protest for indigenous land rights in the world. 50 years this year. In 2013, artist Richard E. Bell created a traveling "Aboriginal Embassy." Every time it goes up around the world, discussions about land rights and sovereignty are held inside. Material from previous iterations is incorporated at each new location. Bell is also a painter. His muscle-y paintings jump off the walls. Arresting colors in a patchwork, often with text, kind of Barbara Kruger meets Rauschenberg. With words like: "Pardon me for being born into a land of racists." And "You can go now." Also, "We know how to wait." Richard was due in Honolulu soon, so I caught him on a Zoom recently. I think youʻll enjoy him, I know I learned enough to need to know more. Richard Bellʻs "Embassy" is coming to Honolulu May 6 and 7. It's part of the Hawaiʻi Triennial 2022, "Pacific Century: E Hoʻomau no Moananuiakea" through May 8, 2022 at seven venues in Honolulu. This "Embassy" has gathered steam already in Moscow, New York, Jakarta, Jerusalem and Sydney. We will gather to add our manaʻo from Hawaiʻi on Friday, May 6, 5-6pm and Saturday May 7, 2-3 pm at the Hawaiʻi State Art Museum. Issues of land and sovereignty could not be more pressing, as we bleed with the resistance in Mariupol. We send these Brolga Bird Clan Songs to the resistance. By Dabulu and Magern, hear Australian aboriginal sounds on Smithsonian Folkways. We offer this chant from the Pacific in solidarity with Ukrainian resistance. Next up on fresh pacific, the fabulous girls from toqa.

Aloha mai kakou! This podcast series is kicking off with four artists featured in the Hawaiʻi Triennial 2022, "Pacific Century: E Hoʻomau no Moananuiakea." HT22 continues through May 8, 2022 at seven venues in Honolulu, so weʻve got to get cooking! Today, we meet featured artist, Beatriz Santiago Munoz, who lives and works in San Juan, Puerto Rico. She exhibits her art internationally. The works are primarily video and installations, dealing with place, politics, history, memory. Munoz works inside and through issues that Honolulu and San Juan have in common, including gentrification, militarization, changing communities, and wealth disparity. Munoz made "Gosila," for example, in the aftermath of Hurricane Maria in 2018. Munoz mixes news of devastation with uprooted trees and demolished homes which end up being visual metaphors for what happened.The power grid collapsed, leaving many without food, water, or electricity, as a history of corruption and lack of investment was laid bare. Munoz keeps her camera on what the people of Puerto Rico went through. Then, the slow human process of rebuilding. The video is projected through a fragment of lens found near Maunabo, Puerto Rico. In the HT22 installation, Munoz shows Post-Military Cinema, 2014, a rumination surrounding an abandoned cinema on a defunct U.S. Naval base. Otros usos, 2016, is shot from an old fuel dock for battleships, now used by fishermen. Their hands tell the story of their rugged days. Ojos para mis enemigos, 2014; and Black Beach/ Horse/ Camp/ The Dead/ Forces, 2016, are also there. Multiple giant screens juxtapose images in the mind at once: a horse grazes quietly, then turn a corner, waters churn in widescreen on the left, while on the right, a manʻs gnarled hands gather fuel for a blaze. Itʻs a tactile, breathing world that can be absorbed more than deciphered. Munoz has exhibited at the Tate Modern, the Whitney Biennial, the Guggenheim Museum, and other international venues. Right now, her work is featured in a refreshing outpost of the Hawaiʻi Triennial 2022, at Royal Hawaiian Center in Waikiki. Go Diamond Head on the third floor, on the mauka side. Youʻll see a cheery exterior and glimpse Momoyo Torimitsuʻs Pink Bunny. Inside, youʻll find Munozʻs videos, Lawrence Sewardʻs sly newspaper/lemonade stand, and in a viewing room, Hong Kong artist Zheng Bo shows tender, sexualized explorations of the forest. Thereʻs VR too, of course, Miao Ying hints at a brighter, less structured world. Others, including Herman Piʻikea Clark, also on view there. I ended up spending a couple of very satisfying hours. Please local people brave Waikiki. I went there last night -- after the show closed, itʻs only open 12-7. Today, someone dropped me off while they did errands in town. That strategy may work for you! Otherwise, from what I can figure, itʻs 1 hour free parking with a $10 purchase validation or $12 per hour with no RHC validation. Next up, Friday, I think! Richard Bell, his installation/intervention, Embassy, a wry comment on statelessness---is going up at the Hawaiiʻi State Art Museum May 7 and 8 for the Hawaiʻi Triennial 2022. Beatriz Santiago Munoz podcast song list: Super Groupers. Smoke Signals featuring Exile. https://zenburecords.bandcamp.com/track/smoke-signals-featuring-exile Ohtoro. Leafbrella with Kizuna https://ohtoro.bandcamp.com/track/leafbrella-with-kizuna Maryanne Ito. Double Talk https://open.spotify.com/track/5A8tr3QGKdZjVSXjhyV11Z Ohtoro. (Kiva) featuring YB by Cooki3 + Ohtoro. https://zenburecords.bandcamp.com/track/kiva-feat-yb Super Groupers. Shine Thru featuring Punahele. Learn to Fly. https://music.apple.com/us/album/shine-thru-feat-punahele/1132411809?i=1132411987 A hui hou!

Haunani Kay Trask (1949-2021) was a Hawaiian leader, an intellectual, an organizer, and a poet. She is a featured artist in the Hawaiʻi Triennial 2022 at the Honolulu Museum of Art through May 8, 2022. In that collaboration, Trask provides commentary for Ed Greevyʻs explosive photographs of wrenching land, access, and identity struggles in Hawaiʻi through the 1970ʻs. With the publication of her book, From a Native Daughter: Colonialism and Sovereignty in Hawaiʻi, 1993, Trask stoked a conceptual evolution for Hawaiians and non-Hawaiians alike. Known for unstinting candor, we hear an example, Trask was also a published poet. In this episode, Hawaiian composer, singer, and educator Kainani Kahaunaele offers an interpretation of Trask's poetry. Kainani embraces Haunani Kay's fierceness and follows it deeper. It is rooted in love. Love for this place, recognized through sensuality. We close with Kainaniʻs composition, Waipunalei, an example of the richness that a sensual interpretation of history and landscape can convey. Eros c'est la vie.

A preview of Ceremony with Hetti Perkins, senior Curator-at-large of the fourth National Indigenous Art Triennial.

Janus is the Roman god of beginnings and endings, transitions and passageways, doorways and duality, amongst several other things. And he was one of my favorite sculptures in my town's art Triennial this year, formally known as the Creative Folkestone Triennial 2021. High up on the East Cliff, in a little park overlooking the ocean, stood this massive head of Janus, who's typically portrayed with two faces, one facing toward the future and the other face looking toward the past. That's what this artwork looked like: a gleaming white, massive head of Janus with one face looking toward the harbour and the other face looking back toward the houses on the street.The sign next to Janus said, “It looks out to sea towards Europe and inland to England, contemplating what connects us as well as what divides us. It is made of plaster and chalk and will gradually degrade and disintegrate, reflecting the gradual erosion of the coastline as well as Folkestone's history as a fort of England.”And he did melt away, helped along by vandals, by the time the Triennial ended this month. A pile of white dust and plaster on the green grass. Memento mori, as the Stoics would say. We will all end up like Janus. And most of us live with that same duality: One part of us pondering the future, another replaying the past. And we're missing this moment. The present moment.Let's change that.❤️Hello! I'm your host, Sarah Mikutel. But the real question is, who are you? Where are you now and where do you want to be? Can I help you get there?Visit sarahmikutel.com to learn how we can work together to help you achieve more peace, happiness, and positive transformation in your life.Book your Enneagram typing session by going to sarahmikutel.com/typingsession

Keti Chukhrov is a Russian philosopher, art theorist, Doctor of Philosophy, playwright, author of works on the philosophy of contemporary art, the theory of performativity, Soviet philosophy of Marxism, and criticism of posthumanism. Keti is an Associate Professor at the Department of Сultural Studies at the National Research University Higher School of Economics (Moscow), and currently a Marie Sklodowska Curie Fellow at Wolverhampton University (UK). Between 2012–2017 she was head of the Theory and Research department at the National Center of Contemporary Art (Moscow). Her books include To Be – to Perform: “Theatre” in Philosophical Criticism of Art (2011); Pound & £ (1999); and two volumes of dramatic poetry: Just Humans (2010) and War of Quantities (2004); Practicing the Good. Desire and Boredom in Soviet Socialism (2020). Her research spans performance studies and post-human theory, with a current focus on the impact of the Soviet economy on the ethical epistemes of historical socialism. Keti is the author of the video play Love Machines (2013), shown at the 1st Bergen Assembly and at Specters of Communism, James Gallery (New York); and of Communion (2016), shown at the 15th International Kansk Video Festival (Moscow) and at Beyond the Globe: 8th Triennial of Contemporary Art – U3 (Ljubljana). FIND KETI ON SOCIAL MEDIA LinkedIn | Facebook | Instagram ================================ SUPPORT & CONNECT: Support on Patreon: https://www.patreon.com/denofrich Twitter: https://twitter.com/denofrich Facebook: https://www.facebook.com/denofrich YouTube: https://www.youtube.com/denofrich Instagram: https://www.instagram.com/den_of_rich/ Hashtag: #denofrich © Copyright 2022 Den of Rich. All rights reserved.