Podcasts about Vija Celmins

A 2025 preview: Georgina Adam, our editor-at-large, tells host Ben Luke what might lie ahead for the market. And Ben is joined by Jane Morris, editor-at-large, and Gareth Harris, chief contributing editor, to select the big museum openings, biennials and exhibitions.All shows discussed are in The Art Newspaper's The Year Ahead 2025, priced £14.99 or the equivalent in your currency. Buy it here.Exhibitions: Site Santa Fe International, Santa Fe, US, 28 Jun-13 Jan 2026; Liverpool Biennial, 7 Jun-14 Sep; Folkestone Triennial, 19 Jul-19 Oct; Ruth Asawa: A Retrospective, San Francisco Museum of Modern Art, 5 Apr-2 Sep; Museum of Modern Art (MoMA), New York, 19 Oct-7 Feb 2026; Gabriele Münter, Guggenheim Museum, New York, 7 Nov-26 Apr 2026; Musée d'Art Moderne de Paris, 4 Apr-24 Aug; Elizabeth Catlett: a Black Revolutionary Artist, Brooklyn Museum, New York, until 19 Jan; National Gallery of Art (NGA), Washington DC, 9 Mar-6 Jul; Art Institute of Chicago, US, 30 Aug-4 Jan 2026; Ithell Colquhoun, Tate Britain, London, 13 Jun-19 Oct; Abstract Erotic: Louise Bourgeois, Eva Hesse, Alice Adams, Courtauld Gallery, London, 20 Jun-14 Sep; Michaelina Wautier, Kunsthistorisches Museum, Vienna, 30 Sep-25 Jan 2026; Radical! Women Artists and Modernism, Belvedere, Vienna, 18 Jun-12 Oct; Dangerously Modern: Australian Women Artists in Europe, Art Gallery of South Australia, Adelaide, 24 May-7 Sep; Art Gallery of New South Wales, Sydney, 11 Oct-1 Feb 2026; Lorna Simpson: Source Notes, Metropolitan Museum of Art, New York, 19 May-2 Nov; Amy Sherald: American Sublime, SFMOMA, to 9 Mar; Whitney Museum of American Art, New York, 9 Apr-Aug; National Portrait Gallery, Washington DC, 19 Sep-22 Feb 2026; Shahzia Sikander: Collective Behavior, Cincinnati Art Museum, 14 Feb-4 May; Cleveland Museum of Art, US, 14 Feb-8 Jun; Cantor Arts Center, Stanford, US, 1 Oct-25 Jan 2026; Jenny Saville: The Anatomy of Painting, National Portrait Gallery, London, 20 Jun-7 Sep; Linder: Danger Came Smiling, Hayward Gallery, London, 11 Feb-5 May; Arpita Singh, Serpentine Galleries, London, 13 Mar-27 Jul; Vija Celmins, Beyeler Collection, Basel, 15 Jun-21 Sep; An Indigenous Present, ICA/Boston, US, 9 Oct-8 Mar 2026; The Stars We Do Not See, NGA, Washington, DC, 18 Oct-1 Mar 2026; Duane Linklater, Dia Chelsea, 12 Sep-24 Jan 2026; Camden Art Centre, London, 4 Jul-21 Sep; Vienna Secession, 29 Nov-22 Feb 2026; Emily Kam Kngwarray, Tate Modern, London, 10 Jul-13 Jan 2026; Archie Moore, Queensland Gallery of Modern Art, 30 Aug-23 Aug 2026; Histories of Ecology, MASP, Sao Paulo, 5 Sep-1 Feb 2026; Jack Whitten, Museum of Modern Art, New York, 23 Mar-2 Aug; Wifredo Lam, Museum of Modern Art, Rashid Johnson, Solomon R. Guggenheim Museum, New York, 18 Apr-18 Jan 2026; Adam Pendleton, Hirshhorn Museum and Sculpture Garden, Washington DC, 4 Apr-3 Jan 2027; Marie Antoinette Style, Victoria and Albert Museum, London, 20 Sep-22 Mar 2026; Leigh Bowery!, Tate Modern, 27 Feb- 31 Aug; Blitz: the Club That Shaped the 80s, Design Museum, London, 19 Sep-29 Mar 2026; Do Ho Suh, Tate Modern, 1 May-26 Oct; Picasso: the Three Dancers, Tate Modern, 25 Sep-1 Apr 2026; Ed Atkins, Tate Britain, London, 2 Apr-25 Aug; Turner and Constable, Tate Britain, 27 Nov-12 Apr 2026; British Museum: Hiroshige, 1 May-7 Sep; Watteau and Circle, 15 May-14 Sep; Ancient India, 22 May-12 Oct; Kerry James Marshall, Royal Academy of Arts, London, 20 Sep-18 Jan 2026; Kiefer/Van Gogh, Royal Academy, 28 Jun-26 Oct; Anselm Kiefer, Ashmolean Museum, Oxford, 14 Feb-15 Jun; Anselm Kiefer, Van Gogh Museum, Stedelijk Museum, Amsterdam, 7 Mar-9 Jun; Cimabue, Louvre, Paris, 22 Jan-12 May; Black Paris, Centre Pompidou, Paris, 19 Mar-30 Jun; Machine Love, Mori Art Museum, Tokyo, 13 Feb-8 Jun Hosted on Acast. See acast.com/privacy for more information.

Today I'm taking us on a space, art and space-art journey. Because, I've been thinking about how when William Shatner recently went up to space in Bezos' rocket, he saw in real life what he had always pretended to see on TV: space and the final frontier. But to his shock and horror, he...sort of hated it: At least he hated the outer space view. He quaked in the face of all that vast emptiness and ended up with a new appreciation for our warm "Mother" Earth. I.e. "Beam me down, Scotty." And in this way, I think an artist could adopt a William Shatner in Space ideology: and try to appreciate the gifts we each have right now (time, space, adequate health, and freedom to create), versus caving into the dark matter horrors of compare & despair, and worry over not achieving the right career benchmarks. Artists/Works mentioned: "The Creation of the World and the Expulsion from Paradise" by Giovanni di Paolo (1445), "Galaxy (Hydra)" Vija Celmins (1974), "The Moon Museum" Robert Rauschenberg, David Novros, John Chamberlain, Claes Oldenburg, Forrest Myers and Andy Warhol (Possibly sent on the Apollo 12 Moon Mission-1969), "The Wave" by Astronaut, Nicole Stott (2009) William Shatner's book: "Boldly Go: Reflections on a Life of Awe and Wonder" Frank White's book: "The Overview Effect" More about Astronaut, Nicole Stott's first-ever painting in space: http://www.collectspace.com/news/news-070816b-astronaut-artist-nicole-stott.html More about The Moon Museum: https://en.wikipedia.org/wiki/Moon_Museum Thank you for listening! All music by Soundstripe ---------------------------- Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated! --- Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

We meet artist Alexandria Tarver to discuss her current solo exhibition at Deli Gallery, New York. Tarver recontextualizes the traditional floral motif into a space between memory, idealization, and presence.Her process begins on a ritualistic evening walk around New York City. For Tarver, the night is a dynamic time oscillating between rest, dreams, and frenzy, often unleashing subconscious desires restrained during the day. It's a period when trouble happens, stars become visible, and the city, never at rest, mirrors the cycle akin to death. The variability of the city's nighttime sky, influenced by observation points, weather, and proximity to building lights, becomes a rich palette of colors, each night unique.On these walks the artist identifies potential subjects, often floral clusters, in an action akin to foraging. Tarver photographs the subject and then creates a preliminary composition in pencil on paper. The subject is finally rendered in oil on panel, employing techniques from various historical movements including post-impressionism, New England mid-century representationalism, and gestural abstraction. The primary layer, accompanied by lapis and cerulean blue ground, captures the electric color of twilight. The timeline varies, with some paintings taking weeks or even months. The vibrant blue of twilight oscillates against the flesh-tones of the central flower form—this blue sometimes deepening, sometimes shifting into an evening haze, sometimes sinking into purple-black depth, a depth halted by the ever-present electric glow of the skyline.Tarver finds profound meaning in the repetition and variations on a theme. As she explores the possibilities of painting, she grapples with the act of painting and its evolution over time and practice. The disciplined dedication to a subject or landscape, evident in artists like Maureen Gallace, Vija Celmins, and Jim Dine, is mirrored in Tarver's formal repetition, which becomes a grounding force that reflects the rhythm of day-to-day existence.In the paintings, flowers and markings are situated as acting figures within the particular, ever-variable, and intensely observed color field of the night sky as viewed from the concrete grounds of the city. Much like Ellsworth Kelly's plant drawings served as a device for him, the plant in Tarver's works acts as a stand-in, offering a guiding framework for her hand and a pathway to reflect on the long nights she has experienced. During a vulnerable period around 2013 and 2014, marked by the sickness and imminent mortality of Tarver's father, the practice of looking at flowers and creating paintings became a place of solace. This loyalty endures, providing a grounding force and a way to navigate through fear, pain, and sorrow.Alexandria Tarver (b. 1989) received a BFA from New York University in 2011. Recently her work has been included in group exhibitions at GRIMM Gallery, London (2023), Marinaro Gallery, NY (2023), Public Gallery, London (2022), UncleBrother, NY (2021), Arsenal Gallery, NY (2019), Et. Al. etc., San Francisco (2017), Danziger Gallery, NY (2016). Tarver also organized group shows Sentimental at Fitness Center for the Arts & Tactics in Brooklyn (2013) and #1 at The Hose in Brooklyn (2013). Tarver had her first solo exhibition with Deli Gallery in 2015. She lives and works in New York City.Follow @AlexandriaTarver on Instagram and @DeliGallery.Visit: https://deligallery.com/Alexandria-Tarver-New-Paintings-2024 Hosted on Acast. See acast.com/privacy for more information.

Today, it's a brand new installment of the "Interview the Interviewer" series and I'm excited to reveal that this episode's Interviewee is ... me! Thank you so much to artist, Catherine Haggarty, for generously suggesting this collaboration and for asking such wonderful questions about my work. More info about Amy (your beloved host's) work online: amytalluto.com and @talluts Works mentioned (AT unless noted): "The Princesse de Broglie" (Ingres), "Bending Figure & Ingres Eye" 2023, "Rain Cloud" 2022, "Cloud (After Ingres) 1-3" 2023 Catherine Haggarty online: catherinehaggarty.com and @catherine_haggarty Artists mentioned: Jennifer Coates, Phyllis Plattner, Louise Mouton Johnson, Frank Gross & Jean Pichotta Gross of NOCCA, Rita MacDonald, Ever Baldwin, Geoffrey Young, Dee Shapiro, Elisabeth Condon, Dona Nelson, Philip Guston, Judy Glantzman, Jean-Auguste-Dominique Ingres, Agnes Martin, Vija Celmins, Julia Gleich, Shari Mendelson, Courtney Puckett, Matisse, Betty Woodman, Charles Burchfield, Edvard Munch, Robert Rauschenberg, Kathe Bradford Amy's fave podcast: Las Culturistas Amy's fiery crucible of self help: Pep Talks for Writers, Wired to Create, Steal Like an Artist, On Art and Mindfulness, The War of Art, Art & Fear, The Artist's Journey: Bold Strokes to Spark Creativity, Make Art Not Content (Podcast), Big Magic Thank you, Catherine! Thank you, Listeners! And thank you so much, Patreon supporters! ---------------------------- Pep Talks on IG: ⁠⁠⁠@peptalksforartists⁠⁠⁠ Peps has a Patreon! If you are a Peps fan and would love more pep talks in your life, please consider supporting the podcast financially on Patreon at ⁠⁠⁠https://www.patreon.com/PepTalksforArtists⁠⁠⁠! For $5 a month, patrons receive exclusive mini Pep-isodes monthly or bimonthly, delivered directly to their email inbox with a clickable link. No tech savviness required! Also, patrons receive early access to not-yet-released full episodes, fresh out the oven. Join the Peps fam on Patreon and become a part of the Pep Talks Peerage today. Find out more here: ⁠⁠⁠⁠https://www.patreon.com/PepTalksforArtists⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠ ⁠⁠⁠BuyMeACoffee⁠⁠⁠ Donations appreciated! All music and effects are by Soundstripe --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Bild „Hot Plate“ von Vija Celmins aus dem Jahr 1964 und die Frage, warum man eine glühende Herdplatte malt.

Our hosts, Sheila and Tom, with Peter Blake, visit Glenstone, discuss issues in contemporary art brought up by sculptures by Charles Ray, chalk drawings by Tacita Dean, large-scale photographs by Jeff Wall, and drawings by Vija Celmins.

Here comes another long episode for your ear holes! We talk about surrealist painter Rene Magritte (1898 – 1967) and photo-realistic artist Vija Celmins (1938 - ???) who Jocelyn mispronounces by mistake a few times. We're a little behind schedule, so this is coming more than a week after our last upload, but life happens!!! We just want to make you laugh. Please tell us you laughed. ANYWAY, what do you think a co-pilot is? The slang term, not the actual term. We talk about it and how Neysa's brothers owe her an oil change, in addition to other frivolous nonsense. Trust me, there's plenty. As always, check out the 'gram for some of the art we reference: @IMinoredInArtHistoryPod Music Creds: intro is edited Regina Spektor, outro is original audio by Nic Hamersly Audio mixed with Auphonic --- Support this podcast: https://podcasters.spotify.com/pod/show/iminoredinarthistorypod/support

【WAWA 发行的 TOUCH 系列作品已经在网店「够好」上线。微店 https://weidian.com/?userid=330531944 淘宝 https://shop517694087.taobao.com/ 】 前些年，国内的综合类书店雨后春笋，多以日本茑屋书店为模仿对象。今年茑屋书店进入中国，在各地纷纷开店，但其实无论是杭州的茑屋书店，还是上海的，西安的，并非是日本的茑屋书店。时事我们就从中国版茑屋书店开始聊聊。 本期主要讲讲两部电影。 《一秒钟》去柏林遭遇临时撤下，国内上映又被删改。国师此次如何大胆，影片如何敏感，两位主播带着好奇去影院一探究竟。可惜，即便是了解原本的剧情，整部影片仍令人尴尬。而且这种尴尬，第一组镜头就开始了... 《风平浪静》是今年的惊喜。这是一部绝不平静的电影。无论是片中的社会性（或者我们常说到的“体制内”），还是片中女追男的热烈的爱情，都令人难以平静。而两位乐迷主播还特别留意到《风平浪静》的音乐。哲学背景的作曲家文智波表现惊艳。音乐监制文智湧，是国内顶尖小号乐手，也是杨老师的心头好。 本期节目我们就以复古的“电影录音剪辑”的形式跟大家一起聊聊电影，听听电影。 ■ Cover art 中作品 Sea drawing with whale / Vija Celmins / 纸上石墨 / 1969 / 33 x 45.7cm · ■ 主播 杨老师 dj 尴尬 · ■ Song List Sid Vicious - Sad Vacation · ■ 延伸阅读 吉井忍：中国茑屋和日本茑屋并不是同一家书店 https://xw.qq.com/cmsid/20201204A09TK900?f=newdc 李霄峰《风平浪静》拓展了什么 http://epaper.ynet.com/html/2020-11/10/content_365735.htm 专访丨《风平浪静》导演李霄峰：撬开列车和站台间的这道缝隙 https://www.thepaper.cn/newsDetail_forward_9879817 · ■ sns 感谢你的收听！关于节目和主播的动态，欢迎关注我们的社交号： 「一画一话」微博 「一画一话」微信 「一画一话」豆瓣 Instagram和Facebook上也可以找到我们。 如果你喜欢我们的节目请在你常用的平台留下好评，将节目分享给你的朋友。 · ■ 付费订阅 http://www.theviewtalk.com/member · ■ say hi info@theviewtalk.com

【WAWA 发行的 TOUCH 系列作品已经在网店「够好」上线。微店 https://weidian.com/?userid=330531944 淘宝 https://shop517694087.taobao.com/ 】 前些年，国内的综合类书店雨后春笋，多以日本茑屋书店为模仿对象。今年茑屋书店进入中国，在各地纷纷开店，但其实无论是杭州的茑屋书店，还是上海的，西安的，并非是日本的茑屋书店。时事我们就从中国版茑屋书店开始聊聊。 本期主要讲讲两部电影。 《一秒钟》去柏林遭遇临时撤下，国内上映又被删改。国师此次如何大胆，影片如何敏感，两位主播带着好奇去影院一探究竟。可惜，即便是了解原本的剧情，整部影片仍令人尴尬。而且这种尴尬，第一组镜头就开始了... 《风平浪静》是今年的惊喜。这是一部绝不平静的电影。无论是片中的社会性（或者我们常说到的“体制内”），还是片中女追男的热烈的爱情，都令人难以平静。而两位乐迷主播还特别留意到《风平浪静》的音乐。哲学背景的作曲家文智波表现惊艳。音乐监制文智湧，是国内顶尖小号乐手，也是杨老师的心头好。 本期节目我们就以复古的“电影录音剪辑”的形式跟大家一起聊聊电影，听听电影。 ■ Cover art 中作品 Sea drawing with whale / Vija Celmins / 纸上石墨 / 1969 / 33 x 45.7cm · ■ 主播 杨老师 dj 尴尬 · ■ Song List Sid Vicious - Sad Vacation · ■ 延伸阅读 吉井忍：中国茑屋和日本茑屋并不是同一家书店 https://xw.qq.com/cmsid/20201204A09TK900?f=newdc 李霄峰《风平浪静》拓展了什么 http://epaper.ynet.com/html/2020-11/10/content_365735.htm 专访丨《风平浪静》导演李霄峰：撬开列车和站台间的这道缝隙 https://www.thepaper.cn/newsDetailforward9879817 · ■ sns 感谢你的收听！关于节目和主播的动态，欢迎关注我们的社交号： 「一画一话」微博 (https://weibo.com/theviewtalk/) 「一画一话」微信 (https://mp.weixin.qq.com/s?__biz=MzI4MTE3NjE5NQ==&mid=2650724775&idx=1&sn=6a4ae30faaaf307a86c6715b0933fce2&chksm=f3a7484bc4d0c15d01963fa6d8a89ba41ec4d6e20b59ff5f5f4ca60c0937cce7f71c9455d569&token=1461874466&lang=zh_CN#rd) 「一画一话」豆瓣 (https://www.douban.com/people/theviewtalk/) Instagram和Facebook上也可以找到我们。 如果你喜欢我们的节目请在你常用的平台留下好评，将节目分享给你的朋友。 · ■ 付费订阅 http://www.theviewtalk.com/member · ■ say hi info@theviewtalk.com

In this episode, the artists Doug Wheeler and Vija Celmins revisit their years in Venice Beach, California in the late 1960s, a scene crowded with figures like Charles Bukowski, Allen Ginsberg, Robert Irwin, and James Turrell. Wheeler and Celmins—old friends and visionaries of their medium—gossip, rehash, map, and even correct this vital piece of art history, while tackling a central question of art along the way: How to impress your sensibility upon the world through your work. Vija Celmins was the subject of a recent, critically-beloved retrospective at the Met Breuer and SFMOMA. Doug Wheeler currently has an exhibition at David Zwirner in New York through March 21, 2020; a definitive monograph of his career was recently published.

Dialogues is returning soon with a new season of very special guests including Doug Wheeler, Vija Celmins, Tyler Mitchell, Helen Molesworth, Kahlil Joseph, R. Crumb, and Luc Tuymans. New episodes every other Wednesday starting February 26th. 2020.

Art critic Alastair Sooke, in the company of some of the leading creatives of our age, continues his deep dive into the stunning works in the Museum of Modern Art's collection, whilst exploring what it really means “to see” art. Today's edition features a work by a Latvian-American visual artist best known for photo-realistic paintings and drawings of natural environments and phenomena such as the ocean, spider webs, star fields, and rocks. Award-winning novelist Madeleine Thien has chosen "Bikini" Celmins's depiction of an atomic blast which took place in Bikini Lagoon on 25 July 1946, part of the United States' Operation Crossroads – one of a series of twenty-three nuclear detonations in the western Pacific. What has drawn the novelist's eye to this work - and how does she see it? Producer: Paul Kobrak Main Image: Vija Celmins, Bikini, 1968. Graphite on acrylic ground on paper, 13 3/8 x 18 1/4" (34 x 46.4 cm). Gift of Edward R. Broida. Museum of Modern Art, NY, 673.2005. © 2019 Vija Celmins

Moore is pleased to announce that Judith Tannenbaum will be this year’s Commencement speaker and will be receiving an Honorary Doctorate of Fine Arts from the College. Tannenbaum was named The Rhode Island School of Design (RISD) Museum’s first curator of contemporary art in 2000. In 2002, she became the Richard Brown Baker Curator of Contemporary Art, the Museum’s first endowed position, which she held until 2013. She recently relocated to Philadelphia but continues her connection to RISD as Adjunct Curator. Moore’s 165th Commencement will be held on Sunday, May 18 at 11 am in Aviator Park, across from the College. Tannenbaum has organized numerous exhibitions focusing on painting, sculpture, video, and interdisciplinary work--with a particular interest in connections between visual art and performance and relationships among fine art, craft, and design. Exhibitions and publications for RISD include Arlene Shechet: Meissen Recast (2014), Painting Air: Spencer Finch (2012); Lynda Benglis (2010); Styrofoam (2008); Beth Lipman: After You’re Gone (2008); Wunderground: Providence, 1995 to the present (2006); Betty Woodman: Il Giardino dipinto (2005); Island Nations: New Art from Cuba, the Dominican Republic, Puerto Rico, and the Diaspora (2004); On the Wall: Wallpaper by Contemporary Artists (2003); and Jim Isermann: Logic Rules (2000). From 1986 to 2000, Tannenbaum served variously as curator, associate director, and interim director at the Institute of Contemporary Art (ICA), University of Pennsylvania, in Philadelphia. As interim director of ICA in 1989-90, she became the spokesperson for the defense of public funding for the arts and artistic freedom in relation to the Robert Mapplethorpe exhibition originated by ICA. Among the shows she curated for ICA are: Glenn Ligon:Unbecoming (1998), PerForms (1995) featuring the work of Janine Antoni, Charles Ray, and Jana Sterbak; Vija Celmins (1992), a retrospective exhibition that toured nationally; and Interactions (1991), a large group shows about collaborations between the visual and performing arts. In January, 2014, Tannenbaum was honored by the Frick Center for the History of Collecting for her contribution to the book Get There First, Decide Promptly: The Richard Brown Baker Collection of Postwar Art (Yale University Art Gallery/Yale University Press, 2011). The book won the Sotheby’s Book Prize for a Distinguished Publication on the History of Collecting in America.

Host Kinte K. Fergerson Guests: Franklin Sirmans Web Address: http://www.blogtalkradio.com/artbeatLive Listener call in #: (909) 362-8242 Since January 2010, Franklin Sirmans is the Terri and Michael Smooke Department Head and Curator of Contemporary Art at the Los Angeles County Museum of Art. He is the curator of recent exhibitions on Steve Wolfe and Vija Celmins which both traveled to LACMA. At LACMA, Sirmans has installed Color and Form, selections from the Broad Collection to coincide with the museum’s presentation of Blinky Palermo; an exhibition from the museum’s permanent collection titled Human Nature (cocurated with Christine Y. Kim) and a solo presentation of works by Robert Therrien from the collections of Broad and LACMA. He is at work on a solo project with Ai Weiwei, opening September 2011 and overseeing installations of new works by Bruce Nauman and Chris Burden in addition to the traveling survey exhibition Glenn Ligon: America, all for October 2011. Prior to LACMA, Sirmans was Curator of Modern and Contemporary Art at The Menil Collection in Houston, from 2006-2010, where he organized ten exhibitions in three years including Maurizio Cattelan accompanied by the catalogue Is There Life Before Death?; Vija Celmins: Television and Disaster, 1964-1966; Steve Wolfe: On Paper; Face Off: A Selection of Old Masters and Others from The Menil Collection; John Chamberlain: American Tableau; NeoHooDoo: Art for a Forgotten Faith; Robert Ryman, 1976; The David Whitney Bequest; Otabenga Jones: Lessons from Below; and Everyday People: 20th Century Photography from The Menil Collection. He was also the coordinating curator for major traveling exhibitions on Bruce Nauman and Marlene Dumas.

Host Kinte K. Fergerson Guests: Franklin Sirmans Web Address: http://www.blogtalkradio.com/artbeatLive Listener call in #: (909) 362-8242 Since January 2010, Franklin Sirmans is the Terri and Michael Smooke Department Head and Curator of Contemporary Art at the Los Angeles County Museum of Art. He is the curator of recent exhibitions on Steve Wolfe and Vija Celmins which both traveled to LACMA. At LACMA, Sirmans has installed Color and Form, selections from the Broad Collection to coincide with the museum’s presentation of Blinky Palermo; an exhibition from the museum’s permanent collection titled Human Nature (cocurated with Christine Y. Kim) and a solo presentation of works by Robert Therrien from the collections of Broad and LACMA. He is at work on a solo project with Ai Weiwei, opening September 2011 and overseeing installations of new works by Bruce Nauman and Chris Burden in addition to the traveling survey exhibition Glenn Ligon: America, all for October 2011. Prior to LACMA, Sirmans was Curator of Modern and Contemporary Art at The Menil Collection in Houston, from 2006-2010, where he organized ten exhibitions in three years including Maurizio Cattelan accompanied by the catalogue Is There Life Before Death?; Vija Celmins: Television and Disaster, 1964-1966; Steve Wolfe: On Paper; Face Off: A Selection of Old Masters and Others from The Menil Collection; John Chamberlain: American Tableau; NeoHooDoo: Art for a Forgotten Faith; Robert Ryman, 1976; The David Whitney Bequest; Otabenga Jones: Lessons from Below; and Everyday People: 20th Century Photography from The Menil Collection. He was also the coordinating curator for major traveling exhibitions on Bruce Nauman and Marlene Dumas.

Paola Cabal is a graduate of the School of the Art Institute and a recent recipient of the prestigious Richard H. Driehaus Award for emerging artists. For Artists Connect, Paola discusses the inspiration she finds for her own work in paintings by Latvian-born artist Vija Celmins. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Harry W. Anderson speaks about the Anderson art collection, philanthropy and several of the artists in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Vija Celmins speaks about her two drawings in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Sam Richardson talks about his cast resin sculptures in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Carole Seborovski talks about two drawings she has in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Charles Arnoldi speaks about his stick sculpture in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode William T. Wiley talks about his marker and watercolor work on paper in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. He also sung an original song, that accompanies the episode, to us. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode William Allen speaks about his large scale painting, Half a Dam, in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode for the exhibition De-Natured: Works from the Anderson Collection curator Heather Green talks about the ideas behind the exhibition and the Anderson art collection; on view at the San Jose Museum of Art Oct. 13, 2007 - Jan. 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Harry W. Anderson speaks about the Anderson art collection, philanthropy and several of the artists in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.