Podcasts about visual cultures

This week the British Fine Artist Frances Featherstone. Frances says her art is guided by an appreciation for storytelling. Narrative serves at the heart of her work with which she seeks to fill her paintings with ideas and conceptual depth. Her creative explorations revolve around the interplay between figures and interior spaces offering viewers a window into intimate emotions that are entangled with the spaces we occupy. Frances employs aerial perspectives to craft patterns seen from above that compress and flatten the spatial dimensions. These pieces venture beyond the constraints of conventional perception and seek to challenge our normal sense of space. One of two children—she has a brother Walter, Frances was born in 1976 in Roade, England, to parents Jane Gill, a teacher —formerly a silversmith and jeweler—and Michael Featherstone a furniture designer. Art runs throughout her family and Frances was always encouraged and supported in her talent which naturally led a formal art education. She achieved an Art Foundation Distinction and First Class Degree in Fine Art and Visual Culture from the University of the West of England, Bristol. before changing direction for her Post Grad in Interactive Multimedia at Bath Spa University, graduating in 2000. She worked as a Designer in the BBC's Interactive Factual and Learning Department for six years. In 2006 she got married and started a family, at which point she returned to painting, firstly by taking commissions for portraits. Her work took off and she was quickly gaining recognition. In 2019 Frances was shortlisted for ‘Artist of the Year' by ‘Artists and Illustrators Magazine'. In 2021 she won the ‘The Chair's Purchase Prize' at the ING Discerning Eye exhibition at The Mall Galleries in London. And in 2024 was awarded a Certificate of Commendation for ‘an exceptional work selected for the Royal Institute of Oil Painters' annual exhibition. She has also won Sky Arts Portrait of the Week twice for her paintings of Booker Prize winner Bernardine Evaristo and the singer Dannii Minogue.  Frances is represented by the Fairfax Gallery in Tunbridge Wells and Arcadia Contemporary Gallery in New York. She lives near Groombridge in East Sussex with her husband Munir Hassan and children Sam and Layla.  Frances' links: https://www.francesfeatherstone.co.uk/Instagram: @francesfeatherstone  Some favorite female artists:Paula RegoJenny SavilleFrida KahloJoan MitchellRachel Whiteread  Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramThe AART Podcast on YouTube has bonus content not included on the podcast.Email: theaartpodcast@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/wisp--4769409/support.

This week the British Fine Artist Frances Featherstone. Frances says her art is guided by an appreciation for storytelling. Narrative serves at the heart of her work with which she seeks to fill her paintings with ideas and conceptual depth. Her creative explorations revolve around the interplay between figures and interior spaces offering viewers a window into intimate emotions that are entangled with the spaces we occupy. Frances employs aerial perspectives to craft patterns seen from above that compress and flatten the spatial dimensions. These pieces venture beyond the constraints of conventional perception and seek to challenge our normal sense of space. One of two children—she has a brother Walter, Frances was born in 1976 in Roade, England, to parents Jane Gill, a teacher —formerly a silversmith and jeweler—and Michael Featherstone a furniture designer. Art runs throughout her family and Frances was always encouraged and supported in her talent which naturally led a formal art education. She achieved an Art Foundation Distinction and First Class Degree in Fine Art and Visual Culture from the University of the West of England, Bristol. before changing direction for her Post Grad in Interactive Multimedia at Bath Spa University, graduating in 2000. She worked as a Designer in the BBC's Interactive Factual and Learning Department for six years. In 2006 she got married and started a family, at which point she returned to painting, firstly by taking commissions for portraits. Her work took off and she was quickly gaining recognition. In 2019 Frances was shortlisted for ‘Artist of the Year' by ‘Artists and Illustrators Magazine'. In 2021 she won the ‘The Chair's Purchase Prize' at the ING Discerning Eye exhibition at The Mall Galleries in London. And in 2024 was awarded a Certificate of Commendation for ‘an exceptional work selected for the Royal Institute of Oil Painters' annual exhibition. She has also won Sky Arts Portrait of the Week twice for her paintings of Booker Prize winner Bernardine Evaristo and the singer Dannii Minogue.  Frances is represented by the Fairfax Gallery in Tunbridge Wells and Arcadia Contemporary Gallery in New York. She lives near Groombridge in East Sussex with her husband Munir Hassan and children Sam and Layla. Frances' links:https://www.francesfeatherstone.co.uk/Instagram: @francesfeatherstone Some favorite female artists:Paula RegoJenny SavilleFrida KahloJoan MitchellRachel Whiteread Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramThe AART Podcast on YouTube has bonus content not included on the podcast. Email: theaartpodcast@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/aart--5814675/support.

This week on Making Contact, we bring you a story of urban planning and how race has shaped American cities.  In his book, Hella Town: Oakland's History of Development and Disruption, Mitchell Schwarzer explores the origins and the lasting impacts of transportation improvements, systemic racism, and regional competition on Oakland's built environment. Schwarzer, an architectural and urban historian, pulls from his experience as a city planner, and educator to tell the story of a city divided. Like this program? Please show us the love. Click here: http://bit.ly/3LYyl0R and support our non-profit journalism. Thanks! Featuring: Mitchell Schwarzer; Professor in the Department of the History of Art and Visual Culture at California College of the Arts. He has written books on architectural theory, visual perception, and the buildings of the San Francisco Bay Area. Credits Host:  Anita Johnson Producers: Anita Johnson, Salima Hamirani, Amy Gastelum, and Lucy Kang Executive Director: Jina Chung Interim Senior Producer: Jessica Partnow Engineer: Jeff Emtman Music: Blue Dot Sessions “Bedroll” Blue Dot Sessions “Messy Inkwell” Andy G. Cohen “Our Young Guts” Learn More: Hella Town: Oakland's History of Development and Disruption Most Segregated Cities Making Contact is an award-winning, nationally syndicated radio show and podcast featuring narrative storytelling and thought-provoking interviews. We cover the most urgent issues of our time and the people on the ground building a more just world.

Greetings Glocal Citizens! This week's episode has been in the making since Episode 122 (https://glocalcitizens.fireside.fm/122) guest, Natasha Moore (https://glocalcitizens.fireside.fm/guests/natasha-d-moore). I'm joined by interdisciplinary artist, choreographer, scholar and educator, specializing in dance forms of the African Diaspora, Winston Benons, Jr. He has extensive training in Afro-Cuban, Haitian, Afro-Brazilian, and Bomba dance, complemented by studies in Horton and Dunham modern dance techniques. He has curated and led intensive programs in culture and dance techniques in both New York City and Cuba. He is the Founder and Director of tRúe Culture & Arts, an organization dedicated to facilitating cultural exchanges, workshops, and academic residencies. His works and studies have explored the intersections between Theater and Performance Studies, Curation and Visual Culture culminating in his graduate thesis entitled Marked: The Racialization Of African Phenotypes And Creation Of An Embodied Archive. Also an educator, he served as a lecturer at Pace University and an adjunct faculty member at the Mason Gross School of the Arts at Rutgers University. He has also held guest faculty positions at Ballet Hispánico, Peridance, Djoniba Dance & Drum, and Cumbe. He is currently the US/MS IB Dance educator at Brooklyn Friends School (https://brooklynfriends.org). Recent choreography and direction credits include Amahl and the NIght Visitors (https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors) and What Lies Beneath (https://en.wikipedia.org/wiki/What_Lies_Beneath) with On Site Opera (https://osopera.org/), where he also served as the cultural advocate. Most recently, he developed and performed part 1 of a series entitled Conversations with Rothko at the SMART Museum (https://smartmuseum.uchicago.edu/) in Chicago. Where to find Winston? the-culturalist.com (https://www.the-culturalist.com/) On LinkedIn (https://www.linkedin.com/in/winston-benons-jr-b131074/) On Instagram (https://www.instagram.com/wbenonsjr/) On Facebook (https://www.facebook.com/tRueCultureArts/?view_public_for=142096181671) What's Winson watching? Barry Jenkins, Moonlight (https://a24films.com/films/moonlight) and other works Dianne Reeves (https://diannereeves.com) Other topics of interest: From British Guiana to Guyana (https://en.wikipedia.org/wiki/Guyanese_people) The Country of Five People (https://en.wikipedia.org/wiki/Guyanese_people) Madeira Islands (https://en.wikipedia.org/wiki/Madeira) What's The Highline (https://www.thehighline.org)? How Chemical Bank became Chase Bank (https://en.wikipedia.org/wiki/Chemical_Bank#:~:text=In%201996%2C%20Chemical%20acquired%20Chase,be%20better%20known%2C%20particularly%20internationally.) ASWAD - Assocation for the Study of the Worldwide African Diaspora (https://www.aswadiaspora.org/) Wideman Davis Dance (http://widemandavisdance.org/) Special Guest: Winston Benons, Jr..

From classical thinking to the romcom films in cinema today: Why do we yearn to find our "other half" but struggle with the reality of long term relationships? To discuss Rana Mitter is joined by: Dr Susie Orbach: a psychotherapist and author of Fat is a Feminist Issue as well as many other books Classicist Prof Armand D'Angour: he has just published a book about Plato's thinking on love - How to Talk about Love: An Ancient Guide for Modern Lovers Dr Vittoria Fallanca: She has new research on the opposite figure to Eros - Anteros - the god of requited love, and the avenger of unrequited love, and his place in the history of philosophy Catherine Wheatley: She is Professor of Film and Visual Culture at Kings College London Mary Harrod: She is Professor of French and Screen Studies at the University of Warwick.Producer: Lisa Jenkinson

What's the episode about?   In this episode, hear Michele Aaron discuss filmmaking and end of life care, hospice documentary, death and LGBTQIA+ communities, palliative care, film practice, ethics and visual culture and dying Who is Michele?  Michele completed her BA in English Literature at Queen Mary's (or QMW as it was then) and both my MA, (in Culture and Social Change) and PhD (in contemporary film and fiction) at the University of Southampton.   She joined Warwick in 2017 from the University of Birmingham where she was based from 2004 having previously taught at Brunel University.   In 2016-17, she was the principal investigator on the AHRC funded project ‘Digital Technology and Human Vulnerability: Towards an Ethical Praxis'. In 2019-20.   She was the principal investigator for the follow-on project 'Life:Moving Onwards: Ethical Praxis and the use of film in the International End of Life Community'.   She is the director/curator of Screening Rights Film Festival, the Midlands International Festival of Social Justice film and debate, which launched in 2015. How do I cite the episode in my research and reading lists? To cite this episode, you can use the following citation: Aaron, M. (2025) Interview on The Death Studies Podcast hosted by Michael-Fox, B. and Visser, R. Published 3 January 2025. Available at: www.thedeathstudiespodcast.com, DOI: 10.6084/m9.figshare.28131629 What next? Check out more episodes or find out more about the hosts! Got a question? Get in touch.

John Hendrix is a New York Times bestselling author and illustrator. His latest book is a graphic novel called The Mythmakers: The Remarkable Fellowship of C. S. Lewis and J. R. R. Tolkien. In this episode, John and I talk about his new book and about his own creative process. John's work has appeared in numerous publications, such as Newsweek, Sports Illustrated, Entertainment Weekly, Rolling Stone, The New Yorker, Esquire, The New York Times, Time Magazine, National Geographic, among many others. His images also appeared in advertising campaigns for ESPN/ABC, AT&T, Pfizer, and Target. I interviewed John about his creative process for my 2025 book Learning to See: Inside the World's Leading Art and Design Schools. John is the Kenneth E. Hudson Professor of Art and the founding Chair of the MFA in Illustration and Visual Culture program at the Sam Fox School of Design and Visual Arts at Washington University in St. Louis. For more information: John Hendrix Illustration: www.johnhendrix.com The Mythmakers: The Remarkable Fellowship of C. S. Lewis & J. R. R. Tolkien Sawyer's new book Learning to See will be published in April, 2025. Music by license from Soundstripe: "Uptown Lovers Instrumental" by AFTERNOONZ "Miss Missy" by AFTERNOONZ "What's the Big Deal" by Ryan Saranich   Copyright (c) 2024 Keith Sawyer  

Deep Reading Lists for each episode can be found at phoebe.substack.com - Today's guest is renowned brand expert Ana Andjelic, author of the forthcoming book 'Hitmakers: How Brands Influence Culture'. Ana and I talked about personal branding, marketing in visual culture, and what she considers the biggest brand hits and misses of 2024. - @andjelicaaa @phoebelovatt @phoebelovattpubliclibrary  

We were assigned The Hobbit in seventh grade. We knew it was coming, too—each class ahead of us had to read Tolkien's classic text. Everyone in school always knew when it was that time of year again. The culminating Hobbit-themed project for every seventh grader was to create a sculpture featuring one of the characters in the book. Those sculptures would then line the halls of our school for the remaining two months of the school year. I, Eric Clayton, of course, made a not-at-all-to-scale version of the great dragon Smaug. So, that was seventh grade and coincidentally the year Peter Jackson's The Lord of the Rings: The Fellowship of the Rings debuted in theaters. But long before I made a dragon out of clay, I'd fallen in love with fantasy, myth and fairy tale. I liked the adventure, of course, the epicness of these wild and wondrous worlds. But the more I read in the genre, the more I learned about these worlds and my own reaction to them, the more I wondered: Was something else going on? Was I drawn to these kinds of stories for another reason? Today's guest, New York Times bestselling author and illustrator, John Hendrix, provides a pretty compelling answer in his latest book, “The Mythmakers: The Remarkable Fellowship of C.S. Lewis and J.R.R. Tolkien.” It's from a particular scene in his book—and we discuss at length in our conversation. It's a pivot moment, a conversation between Tolkien, Lewis and their mutual friend, Hugo Dyson. “The hunger in your stomach does not prove that you will get a meal,” Tolkien says. “But it does prove that your body was meant for food. The point is simple. The ‘dying and reviving God' images that moves you so deeply in mythology is the very same story found in the Gospels.” Dyson adds: “Men write their myths and God writes his.” Lewis is exasperated: “Now both of you are saying that Christ is a myth…like Loki?” he asked. “Exactly,” Tolkien says. “With one simple difference: “Christ is the myth that entered history. He is the myth that actually came true.” I won't spoil any more of the story for you. But if you are curious about the intersection of fantastical storytelling and spiritual discoveries, if you've ever wanted to learn more about the creators of Narnia and Middle-earth and their all-important friendship, then this conversation with John Hendrix is for you. And so's his book. A little more about John: His books include The Faithful Spy: Dietrich Bonhoeffer and the Plot to Kill Hitler, called a Best Book of 2018 by NPR, Drawing Is Magic: Discovering Yourself in a Sketchbook, Miracle Man: The Story of Jesus, and many others. His award-winning illustrations have also appeared on book jackets, newspapers, and magazines all over the world. And he is the Kenneth E. Hudson Professor of Art and the founding Chair of the MFA in Illustration and Visual Culture program at the Sam Fox School of Design and Visual Arts at Washington University in St. Louis. You can learn more about John's impressive career and grab copies of his many books at johnhendrix.com.

Haley interviews John Hendrix, a New York Times bestselling author and illustrator. He is the Kenneth E. Hudson Professor of Art and Chair of the MFA in Illustration and Visual Culture program at the Sam Fox School of Design and Visual Arts at Washington University in St. Louis. His books include The Faithful Spy: Dietrich Bonhoeffer and the Plot to Kill Hitler, Drawing Is Magic, and The Mythmakers, a new graphic novel about the friendship between C.S. Lewis and J.R.R. Tolkien. In this episode Haley and John discuss the great value of having companions on the way in both the creative and the spiritual life, how the Gospel as the true myth, and ways to encourage reluctant readers with highly illustrated books like graphic novels. Learn more about the children's literature available from Word on Fire Votive. Stay up-to-date with the latest episodes of the The Votive Podcast biweekly on WordonFire.org or wherever you listen to podcasts. Do you enjoy this podcast? Become a Word on Fire IGNITE member to support the production of the Votive Podcast and other initiatives from Word on Fire. Our ministry depends on the support of listeners like you! Become a part of this mission and join IGNITE today to become a Word on Fire insider and receive some special donor gifts for your generosity.

In this episode, host Ellie Woodacre interviews Alban Schmid and Alison J. Miller to discuss queenship in East Asia. We discuss K-Dramas and real life palace intrigues in Choson Korea and the role of Japan's empresses in the visual propaganda of the Meiji Restoration period. Both authors reflect on to what extent we can apply the idea of queenship to monarchies in East Asia and royal women who they think deserve more attention or reconsideration.Guest Bios:Alison J Miller, Associate Professor of Art History and Director of Asian Studies at the University of the South (Sewanee), is a specialist in modern and contemporary Japanese art history, focusing on two-dimensional media, gender, and the imperial family. She has published in the Journal of Japanese Studies, TransAsia Photography Review, Asian Diasporic Visual Cultures and the Americas (ADVA), and various public humanities projects and museum catalogues. She is co-editor and contributing author for The Visual Culture of Meiji Japan: Negotiating the Transition to Modernity (Routledge, 2021) and Transposed Memory: Visual Sites of National Recollection in 20th and 21st Century East Asia (Brill, 2024). Her book, Envisioning the Empress: The Lives and Images of Japanese Imperial Women, 1868-1952 (Routledge, 2025) analyzes the social impact of the images of the modern Japanese empresses. She received her PhD from the University of Kansas and has taught at Bowdoin College and the Kansas City Art Institute, and her work has been funded by a Fulbright Fellowship, Foreign Language Area Studies Fellowship, Robert and Lisa Sainsbury Fellowship, Appalachian College Association Faculty Fellowship, and Mellon Postdoctoral Fellowship, among others. Personal website: https://www.alisonjmiller.com/Alban Schmid studied politics and international relations at Sciences Po Paris and Peking University before focussing his attention on political history of East Asia during his graduate studies at the University of Oxford. He currently works at his alma mater in France. His new book The Institutional Power of Chosŏn Korea's Queen Dowagers, was recently published in ARC Humanities Press' Gender and Power in the Premodern World series. 

As a novelist, Jonathan Lethem is basically a genre all his own. His books mash up literary fiction and pulp into disorienting but engaging combinations, for which he's won both a MacArthur Grant and the National Book Award. Since the success of Motherless Brooklyn in 1999, he's published many very well received novels—including The Fortress of Solitude in 2003 and Brooklyn Crime Novel, from last year—as well as many more short stories and essays for places including the New Yorker, Harper's and Rolling Stone. And it turns out he's written a lot about art too—enough in fact, to fill an entire volume. Cellophane Bricks: A Life in Visual Culture, published this summer by ZE Books, is its own type of unexpected hybrid of writing. It spans genres, containing short stories, essays, and criticism, as well as types of art, its essays hopping between his reverence for a Hans Holbein at the Frick and respect for the “scratchiti” artist Pray. Part of the joy of the book is Lethem's determinedly eclectic and personal taste, giving his attention to both names you know and obscure children's book authors or indie comics artists. Among other things, Cellophane Bricks offers Lethem's personal recollections of growing up around artists, including his father, painter Richard Lethem, in the grassroots alternative art world rooted in the collective spaces of a pre-gentrified Brooklyn. He also writes of the ethos of the graffiti-art world around his brother, Blake "KEO" Lethem. Aside from a spirit of unconventionality, the biographical material may seem to come from another world from the delirious and sometimes fantastic short fictions in the volume, mostly written for artist catalogues for the likes of Nan Goldin, Jim Shaw, and Fred Tomaselli and gathered here for the first time. However, these also embody an ethos that clearly relates to the communal creative scenes of his youth: Lethem insists on only offering short stories as catalogue contributions, paying with his art, while accepting only artworks in return as payment. There's more still to Cellophane Bricks: essays on what it means to live with art, and varied reflections on what art and literature, word and image, bring to each other. Introducing Lethem at an event recently at the Brooklyn Public Library, the art critic Dan Fox said that, as a novelist, Lethem had left the same kind of indelible mark on how people see Brooklyn that Warhol had on Manhattan. With Cellophane Bricks, he is leaving his imprint on the art world. A footnote for the future: The book is nicely illustrated with pictures of the eclectic work it describes, and next year, the art from Cellophane Bricks the basis for a show that will be at the Benton Museum of Art at Pomona College in Southern California. “Jonathan Lethem's Parallel Play: Contemporary Art and Art Writing” is described as “a chronicle of an author who roams among visual artists,” and ill feature art by Gregory Crewdson, Rosalyn Drexler, Charles Long, and others. Look out for it.

As a novelist, Jonathan Lethem is basically a genre all his own. His books mash up literary fiction and pulp into disorienting but engaging combinations, for which he's won both a MacArthur Grant and the National Book Award. Since the success of Motherless Brooklyn in 1999, he's published many very well received novels—including The Fortress of Solitude in 2003 and Brooklyn Crime Novel, from last year—as well as many more short stories and essays for places including the New Yorker, Harper's and Rolling Stone. And it turns out he's written a lot about art too—enough in fact, to fill an entire volume. Cellophane Bricks: A Life in Visual Culture, published this summer by ZE Books, is its own type of unexpected hybrid of writing. It spans genres, containing short stories, essays, and criticism, as well as types of art, its essays hopping between his reverence for a Hans Holbein at the Frick and respect for the “scratchiti” artist Pray. Part of the joy of the book is Lethem's determinedly eclectic and personal taste, giving his attention to both names you know and obscure children's book authors or indie comics artists. Among other things, Cellophane Bricks offers Lethem's personal recollections of growing up around artists, including his father, painter Richard Lethem, in the grassroots alternative art world rooted in the collective spaces of a pre-gentrified Brooklyn. He also writes of the ethos of the graffiti-art world around his brother, Blake "KEO" Lethem. Aside from a spirit of unconventionality, the biographical material may seem to come from another world from the delirious and sometimes fantastic short fictions in the volume, mostly written for artist catalogues for the likes of Nan Goldin, Jim Shaw, and Fred Tomaselli and gathered here for the first time. However, these also embody an ethos that clearly relates to the communal creative scenes of his youth: Lethem insists on only offering short stories as catalogue contributions, paying with his art, while accepting only artworks in return as payment. There's more still to Cellophane Bricks: essays on what it means to live with art, and varied reflections on what art and literature, word and image, bring to each other. Introducing Lethem at an event recently at the Brooklyn Public Library, the art critic Dan Fox said that, as a novelist, Lethem had left the same kind of indelible mark on how people see Brooklyn that Warhol had on Manhattan. With Cellophane Bricks, he is leaving his imprint on the art world. A footnote for the future: The book is nicely illustrated with pictures of the eclectic work it describes, and next year, the art from Cellophane Bricks the basis for a show that will be at the Benton Museum of Art at Pomona College in Southern California. “Jonathan Lethem's Parallel Play: Contemporary Art and Art Writing” is described as “a chronicle of an author who roams among visual artists,” and ill feature art by Gregory Crewdson, Rosalyn Drexler, Charles Long, and others. Look out for it.

Merriam-Webster's Word of the Day for November 9, 2024 is: inchoate • in-KOH-ut • adjective Inchoate is a formal adjective that describes something that is not completely formed or developed yet. // In the podcast, the author described the process by which she took a series of inchoate vignettes and shaped them into her best-selling novel. See the entry > Examples: "Graffiti inserts itself like the blade of a knife between creation and destruction, between publicity and furtiveness, between word and image, cartoon, icon, and hieroglyph. … That its meaning is inchoate is part of the point. If you can explain it, you probably don't understand." — Jonathan Lethem, Cellophane Bricks: A Life in Visual Culture, 2024 Did you know? Inchoate is most often used to describe something that is not, or not yet, completely formed or developed. It's a formal word that's sure to add pizzazz to any conversation—but only if you start working on pronouncing it correctly. The first two letters of inchoate do what you'd expect—exactly what the word in does. However, the choate in inchoate does not share the first sound of chair, nor does it rhyme with oat. Instead, it shares the first sound of cat, and rhymes with poet. Inchoate came to English in the 16th century from the Latin adjective incohātus, meaning "only begun, unfinished, imperfect," which in turn comes from a form of the verb incohāre, meaning "to start work on."

Merriam-Webster's Word of the Day for November 9, 2024 is: inchoate • in-KOH-ut • adjective Inchoate is a formal adjective and synonym of vague that describes something that is not completely formed or developed yet. // In the podcast, the author described the process by which she took a series of inchoate vignettes and shaped them into her best-selling novel. See the entry > Examples: "Graffiti inserts itself like the blade of a knife between creation and destruction, between publicity and furtiveness, between word and image, cartoon, icon, and hieroglyph. … That its meaning is inchoate is part of the point. If you can explain it, you probably don't understand." — Jonathan Lethem, Cellophane Bricks: A Life in Visual Culture, 2024 Did you know? Inchoate is most often used to describe something that is not, or not yet, completely formed or developed. As a more formal word than its synonym, vague, it's sure to add pizzazz to any conversation—but only if you start working on pronouncing it correctly. The first two letters of inchoate do what you'd expect—exactly what the word in does. However, the choate in inchoate does not share the first sound of chair, nor does it rhyme with oat. Instead, it shares the first sound of cat, and rhymes with poet. Inchoate came to English in the 16th century from the Latin adjective incohātus, meaning "only begun, unfinished, imperfect," which in turn comes from a form of the verb incohāre, meaning "to start work on."

John Hendrix stops by to talk about his fatherhood journey. We talk about the values he looks to instill into his kids. After that he shares the life lessons he learned from his kids. In addition, we talk about his new book, The Mythmakers. John discusses some of the fun stories he learned about the relationship between C.S. Lewis and J.R.R. Tolkien while writing this book.  Lastly, we finish the interview with the Fatherhood Quick Five.  About John Hendrix John Hendrix is a New York Times bestselling author and illustrator. His books include the young adult graphic novel The Faithful Spy: Dietrich Bonhoeffer and the Plot to Kill Hitler (a YALSA Nonfiction Excellence in Nonfiction Award Finalist) and the picture books Go and Do Likewise!: The Parables and Wisdom of Jesus, Shooting at the Stars: The Christmas Truce of 1914, Miracle Man: The Story of Jesus, and Nurse, Soldier, Spy: The Story of Sarah Edmonds, A Civil War Hero.  He is also the author-artist behind the adult books The Holy Ghost: A Spirited Comic and Drawing Is Magic: Discovering Yourself in a Sketchbook. He is chair of the MFA Illustration and Visual Culture program in the Sam Fox School of Design & Visual Arts at Washington University in St. Louis. Hendrix lives in Webster Groves, Missouri. John lives in the St. Louis, with his wife Andrea, son Jack and daughter Annie, dog Pepper and cats Kit-Kat and Luna. Make sure you follow John on Twitter at @hendrixart and Instagram at @johnhendrix. In addition make sure you pick up his latest book, The Mythmakers wherever you purchase books. About The Mythmakers  From New York Times bestselling, award-winning creator John Hendrix comes The Mythmakers, a graphic novel biography of two literary lions—C.S. Lewis and J.R.R. Tolkien—following the remarkable story of their friendship and creative fellowship, and how each came to write their masterworks. Through narrative and comic panels, Hendrix chronicles Lewis and Tolkien's near-idyllic childhoods, then moves on to both men's horrific tour of the trenches of World War I to their first meeting at Oxford in 1929, and then the foreshadowing, action, and aftermath of World War II. He reveals the shared story of their friendship, in all its ups and downs, that gave them confidence to venture beyond academic concerns (fantasy wasn't considered suitable for adult reading, but the domain of children), shaped major story/theme ideas, and shifted their ideas about the potential of mythology and faith. About The Art of Fatherhood Podcast  The Art of Fatherhood Podcast follows the journey of fatherhood. Your host, Art Eddy talks with fantastic dads from all around the world where they share their thoughts on fatherhood. You get a unique perspective on fatherhood from guests like Bob Odenkirk, Hank Azaria, Joe Montana, Kevin Smith, Danny Trejo, Jerry Rice, Jeff Foxworthy, Patrick Warburton, Jeff Kinney, Paul Sun-Hyung Lee, Kyle Busch, Dennis Quaid, Dwight Freeney and many more.

John Hendrix is a New York Times bestselling author and illustrator of many books. His award-winning illustrations have also appeared on book jackets, newspapers, and magazines all over the world. The Society of Illustrators named John the Distinguished Educator in the Arts for 2024. He is the Kenneth E. Hudson Professor of Art and the founding Chair of the MFA in Illustration and Visual Culture program at Washington University in St. Louis. John's new graphic novel is The Mythmakers: The Remarkable Fellowship of C. S. Lewis and J. R. R. Tolkien.  In this episode, John and Jonathan Rogers talk about the nature of myth, the creative power of friendship, the beginning of the Inklings, and the sad end of the Inklings.Support the show: https://therabbitroom.givingfuel.com/memberSee omnystudio.com/listener for privacy information.

Abhay shares a conversation with Los Angeles based art gallerist and curator, Rajiv Menon, to talk about his ongoing work, about art and race and the global South Asian, and even some of the barriers and accelerators he's encountered along the way.Rajiv's latest exhibition is titled "Three Steps of Land", as an artistic ode to Onam and Kerala.(0:00 - 2:46) Introduction(2:46) Part 1 - Mobilizing art, making art relevant, trusting relationship with visual arts(19:54) Part 2 - Nostalgia and Whiteness, connecting the dots of his exhibits, misconceptions(32:23) Part 3 - Unlearning, finding harmony with art in a digital world, Los Angeles and beyond, "how can I get involved"(44:59) ConclusionRemember that it's National Suicide Prevention Month in the US - if you or someone you know is struggling or in crisis, help is available. Call or text 9-8-8 or go to 988lifeline.org to reach the 988 Suicide & Crisis Lifeline.

Legendary visual artist Cey Adams grew up in NYC immersed in the excitement and danger of graffiti, embellishing buildings and tagging “Cey City” on subway cars. From there, he began selling in galleries along with contemporaries Jean-Michel Basquiat and Keith Haring, and designing merch, logos and singles for Run DMC, Beastie Boys, and LL Cool J. As founding Creative Director of Def Jam he designed cover art for Slick Rick, Public Enemy, Notorious B.I.G., Mary J. Blige, etc., toured with his good friends the Beastie Boys, and asked Method Man for parenting advice - all in a day at the office. 40+ years into his prolific career as a celebrated commercial and fine artist, he's recognized as a defining visionary of hip-hop culture.Images and more from Cey Adams on cleverpodcast.comPlease say Hi on social! Twitter, Instagram and Linkedin - @CleverPodcast, @amydevers,If you enjoy Clever we could use your support! Please consider leaving a review, making a donation, becoming a sponsor, or introducing us to your friends! We love and appreciate you!Clever is hosted & produced by Amy Devers, with editing by Mark Zurawinski, production assistance from Ilana Nevins and Anouchka Stephan, and music by El Ten Eleven. Hosted on Acast. See acast.com/privacy for more information.

For seafarers, merchants, travellers, and monarchs, the idea of the Northwest Passage from Europe to Asia was pursued as the holy grail of maritime exploration. Some of Europe's finest explorers dedicated their lives to its discovery - braving uncharted waters, and freezing temperatures. But who were the men who gave up everything to find the passage? Why did its discovery remain so vital for so long? And who was the explorer to finally claim the discovery after centuries of futile searching? This is a Short History Of….The Northwest Passage. A Noiser Production, written by Sean Coleman. With thanks to Dr Russell Potter, Professor of English at Rhode Island College, and author of Arctic Spectacles: The Frozen North in Visual Culture.  Get every episode of Short History Of a week early with Noiser+. You'll also get ad-free listening, bonus material, and early access to shows across the Noiser network. Click the Noiser+ banner to get started. Or, if you're on Spotify or Android, go to noiser.com/subscriptions.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

-> This episode is an extract from an interview. You will find the entire interview on this same account.Kent is an arts writer and Associate Professor at Montclair State University in New Jersey. In this fascinating conversation, we talk about digital culture and emerging technologies. From her love for Proust to how surrealism supported socialism and surveillance capitalism, we delve into how artists use technology in unconventional ways. We also discuss the importance of using the word "image" instead of "picture" when referring to images created by algorithms and the importance of reading and questioning things. Reading (and listening) is a community. Enjoy listening!Charlotte Kent's website: https://ckent.art/Subscribe to the podcast newsletter: https://bit.ly/lesvoixdelaphotonewsletterStay updated with the podcast: https://bit.ly/lesvoixdelaphotowebsiteYou can also find the podcast on Instagram, Facebook, and LinkedIn @lesvoixdelaphoto Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Charlotte Kent is an arts writer and Associate Professor at Montclair State University in New Jersey. In this fascinating conversation, we talk about digital culture and emerging technologies. From her love for Proust to how surrealism supported socialism and surveillance capitalism, we delve into how artists use technology in unconventional ways. We also discuss the importance of using the word "image" instead of "picture" when referring to images created by algorithms and the importance of reading and questioning things. Reading (and listening) is a community. Enjoy listening!2'42 – Childhood with a diplomat father and a film critic mother.8'15 – We don't like the same art at all ages. She loved Renoir's paintings as a child and now loves landscapes.9'30 – In college, she studied philosophy, became an artist's model, and began viewing art differently.10'57 – She went to graduate school to read Proust on art. She was interested in why certain writings about art are excluded from history. She studied 1930s surrealism and its support for socialism.14'23 – She examined the contemporary period by disrupting art historical discourse.14'54 – In NY after 2011, a campaign said: If you see something, say something. This worried her as it hindered education, which could teach people to interpret the world visually using art.17'03 – Artists working on surveillance led her to consider emerging technology. She was interested in unconventional uses of this technology by artists.20'32 – In 2020, she was unhappy with the NFT conversation as it ignored older practices. The same issue existed with AI, which has been a concern since 2010 due to filter bubbles and algorithms.25'45 – The 20th century disrupted authority by disrupting historical styles. How is it disruptive to be disruptive now?27' – There is a place for new aesthetics because people want to rest their eyes.35' – Mobile devices and social platforms influenced photography by allowing many photos and creating styles on platforms like Tumblr, Flickr, and Instagram. We now appreciate selfies' new angles.43'30 – Many artists ask: why use the media they use? Every medium has its history, politics, social influence, and practices. This is a challenge for artists, who often face questions about their methods.48' – She worries when photographers avoid engaging with other practices using technology.50'30 – With algorithmically generated works, she prefers "image" over "picture" to address the complexities of input, systems, text, tagging, and algorithms. However, discussing photography's role in people's experiences remains essential. How do we manage this for the audience?55'10 – Reading is important. Reading is a community.57'45 – She does not believe in the hierarchy of art.1'02 – Exercise for her students: choose an artwork and view it in person for an hour twice a week for one or two months.Charlotte Kent's website: https://ckent.art/Subscribe to the podcast newsletter: https://bit.ly/lesvoixdelaphotonewsletterStay updated with the podcast: https://bit.ly/lesvoixdelaphotowebsiteYou can also find the podcast on Instagram, Facebook, and LinkedIn @lesvoixdelaphoto Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Associate Professor Donna West Brett gives a lecture on the collection of photobooks donated to the Bodleian Library in 2020 by Sir Charles Chadwyck-Healey. Conveying meaning through photos alone, the photobook is a radical format that enabled the widespread dissemination of modernist aesthetics. This lecture will take a closer look at the way photobooks portray the ‘everyday' – the familiar, the practical, the ordinary – and its intersection with the visual languages of politics and propaganda. Speaker Donna West Brett is Associate Professor and Chair of Art History at The University of Sydney. She is author of Photography and Place: Seeing and Not Seeing Germany After 1945 (Routledge, 2016); co-editor with Natalya Lusty, Photography and Ontology: Unsettling Images (Routledge, 2019), and has published widely on photographic history. She is Research Leader for Photographic Cultures at Sydney, and Editorial Member for the Visual Culture and German Contexts Series, Bloomsbury. Brett is a recipient of the Australian Academy of the Humanities, Ernst and Rosemarie Keller Fund, and Sloan Fellow in Photography at the Bodleian Libraries for 2024.

Our guest today is Gabriela Rodriguez-Gomez who is a Ph.D. candidate in Chicana/o Studies & Central American Studies at University of California Los Angeles (UCLA) with a specialization in the history of murals created during the Chicana/o art movement and the Mexican mural movement. She holds a B.A. in Art and History of Art and Visual Culture from the University of California Santa Cruz, an M.A. in Art History from the University of California Riverside, and an M.A. in Chicana/o Studies from UCLA. She received the Edward A. Dickson Fellowship in the History of Art at UCLA in 2021-2022 and is currently the UC President's Pre-Professoriate Fellow for 2023-2024. The dissertation “Murals Without Walls, Muralism Without Borders: Womxn Artists and Their Portable Murals of the Chicano Art Movement in Colorado and California” examines the history of Chicana/o and Mexican muralism and identifies womxn artists and their portable murals.HealthCare UnTold honors Gabriela for her scholastic achievementhttps://chavez.ucla.edu/person/gabriela-rodriguez-gomez/

Associate Professor Simeon Chavel from the Divinity Schools shares how he found his way to becoming a Hebrew Bible scholar at the University of Chicago through multiple chances. As he continues his research, teaching, and administrative work, Professor Chavel keeps his opportunities open, multitasks, and finds intriguing research topics to keep him passionate. Tune in for this week's episode to feel inspired by the Professor's work and outlook on life. 

In this beautiful new book, Dr. Youngna Kim draws on her vast understanding of Korean art to provide an overview of the peninsula's contemporary art scene. Korean artists have become increasingly active at an international level, with many being invited for residencies and exhibitions all over the world. Nonetheless, for various reasons, the general understanding of Korean contemporary art remains insufficient. Korean Art since 1945: Challenges and Changes (Brill, 2024) is volume 9 in the series Modern Asian Art and Visual Culture. The book draws on primary sources to discuss the ideological stakes that affected the art world, modernist art vs. political art, and the fluidity of concepts such as tradition and national identity. Moreover, the book also has a chapter on the art of North Korea. The book is an excellent resource for anyone interested in Korean studies or contemporary art. Dr. Youngna Kim is Professor Emerita of the Department of Archaeology and Art History at Seoul National University and was the Director of the National Museum of Korea from 2011 until 2016. Dr. Kim received her bachelor's degree from Muhlenberg College and her Ph.D. in the History of Art from The Ohio State University. She has many publications to her name about Korea's ever-evolving art scene. Buy Youngna Kim's new book about Korean art before independence (only available in Korean) here. Leslie Hickman is a translator and writer. She has an MA in Korean Studies from Yonsei University and lives in Seoul, South Korea. You can follow her activities at https://twitter.com/AJuseyo. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this beautiful new book, Dr. Youngna Kim draws on her vast understanding of Korean art to provide an overview of the peninsula's contemporary art scene. Korean artists have become increasingly active at an international level, with many being invited for residencies and exhibitions all over the world. Nonetheless, for various reasons, the general understanding of Korean contemporary art remains insufficient. Korean Art since 1945: Challenges and Changes (Brill, 2024) is volume 9 in the series Modern Asian Art and Visual Culture. The book draws on primary sources to discuss the ideological stakes that affected the art world, modernist art vs. political art, and the fluidity of concepts such as tradition and national identity. Moreover, the book also has a chapter on the art of North Korea. The book is an excellent resource for anyone interested in Korean studies or contemporary art. Dr. Youngna Kim is Professor Emerita of the Department of Archaeology and Art History at Seoul National University and was the Director of the National Museum of Korea from 2011 until 2016. Dr. Kim received her bachelor's degree from Muhlenberg College and her Ph.D. in the History of Art from The Ohio State University. She has many publications to her name about Korea's ever-evolving art scene. Buy Youngna Kim's new book about Korean art before independence (only available in Korean) here. Leslie Hickman is a translator and writer. She has an MA in Korean Studies from Yonsei University and lives in Seoul, South Korea. You can follow her activities at https://twitter.com/AJuseyo. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

In this beautiful new book, Dr. Youngna Kim draws on her vast understanding of Korean art to provide an overview of the peninsula's contemporary art scene. Korean artists have become increasingly active at an international level, with many being invited for residencies and exhibitions all over the world. Nonetheless, for various reasons, the general understanding of Korean contemporary art remains insufficient. Korean Art since 1945: Challenges and Changes (Brill, 2024) is volume 9 in the series Modern Asian Art and Visual Culture. The book draws on primary sources to discuss the ideological stakes that affected the art world, modernist art vs. political art, and the fluidity of concepts such as tradition and national identity. Moreover, the book also has a chapter on the art of North Korea. The book is an excellent resource for anyone interested in Korean studies or contemporary art. Dr. Youngna Kim is Professor Emerita of the Department of Archaeology and Art History at Seoul National University and was the Director of the National Museum of Korea from 2011 until 2016. Dr. Kim received her bachelor's degree from Muhlenberg College and her Ph.D. in the History of Art from The Ohio State University. She has many publications to her name about Korea's ever-evolving art scene. Buy Youngna Kim's new book about Korean art before independence (only available in Korean) here. Leslie Hickman is a translator and writer. She has an MA in Korean Studies from Yonsei University and lives in Seoul, South Korea. You can follow her activities at https://twitter.com/AJuseyo. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this beautiful new book, Dr. Youngna Kim draws on her vast understanding of Korean art to provide an overview of the peninsula's contemporary art scene. Korean artists have become increasingly active at an international level, with many being invited for residencies and exhibitions all over the world. Nonetheless, for various reasons, the general understanding of Korean contemporary art remains insufficient. Korean Art since 1945: Challenges and Changes (Brill, 2024) is volume 9 in the series Modern Asian Art and Visual Culture. The book draws on primary sources to discuss the ideological stakes that affected the art world, modernist art vs. political art, and the fluidity of concepts such as tradition and national identity. Moreover, the book also has a chapter on the art of North Korea. The book is an excellent resource for anyone interested in Korean studies or contemporary art. Dr. Youngna Kim is Professor Emerita of the Department of Archaeology and Art History at Seoul National University and was the Director of the National Museum of Korea from 2011 until 2016. Dr. Kim received her bachelor's degree from Muhlenberg College and her Ph.D. in the History of Art from The Ohio State University. She has many publications to her name about Korea's ever-evolving art scene. Buy Youngna Kim's new book about Korean art before independence (only available in Korean) here. Leslie Hickman is a translator and writer. She has an MA in Korean Studies from Yonsei University and lives in Seoul, South Korea. You can follow her activities at https://twitter.com/AJuseyo. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/korean-studies

Today's episode is the first in a series of conversations on videos created as part of the project, Doing Women's (Global) (Horror) Film History (DWGHFH), a year-long video essay mentoring and training program that culminated in a videographic special issue of MAI: Feminism & Visual Culture.  Led by Alison Peirse, DWGHFH features the work of thirty contributors on "women horror filmmakers in non-anglophone countries, with a particular focus on filmmakers from the Global Majority." This episode features a conversation with Krista Calvo, the creator of "Dos Hermanas: Uncanny Femininity, Grief & Childhood in Carillo's Animations," and Colleen Laird, creator of "Kūki." Support the podcast on ⁠⁠⁠Patreon⁠⁠⁠. Follow the show on ⁠⁠⁠Twitter⁠⁠⁠. Learn more at the pod's ⁠⁠⁠website⁠⁠⁠. Get the ⁠⁠⁠free newsletter⁠⁠⁠. Subscribe on ⁠⁠YouTube⁠⁠. Will DiGravio hosted, edited and produced this episode. Emily Su Bin Ko is the show's associate producer. ⁠⁠⁠⁠Music by Ketsa⁠⁠⁠⁠ and _HEAVYLEG.

In this podcast, artist and land conservationist Haley Mellin talks with the Arts Management and Technology Lab at Carnegie Mellon University about actions artists and arts organizations of all sizes can take to measure their climate impact, reduce emissions, and support biodiversity protection. Mellin is the founder of Art into Acres, a non-profit organization which connects artists and arts institutions with large-scale land conservation projects focused on climate, Indigenous peoples, and beta-diversity. Additionally, Mellin co-founded Conserve.org, the MOCA Environmental Council in Los Angeles, Art and Climate Action, Artists Commit, and Gallery Climate Coalition's  New York chapter.  She was a member of the Whitney Museum's Independent Studio Program and holds a PhD in Visual Culture and Education from New York University.

Episode Notes Arnason, H. H. (2014). History of Modern Art: Painting, Sculpture, Architecture, Photography (7th ed.). Pearson. - [https://www.pearson.com/us/higher-education/program/Arnason-History-of-Modern-Art-Vol-1-Paperback-Plus-MySearchLab-with-eText-Package-7th-Edition/PGM270428.html](https://www.pearson.com/us/higher-education/program/Arnason-History-of-Modern-Art-Vol-1-Paperback-Plus-MySearchLab-with-eText-Package-7th-Edition/PGM270428.html) - - Celant, Germano. (1997). Damien Hirst. Fondazione Prada. - URL: [https://www.fondazioneprada.org/prodotto/damien-hirst/](https://www.fondazioneprada.org/prodotto/damien-hirst/) Gagosian Gallery. (2006). Damien Hirst: A Thousand Years. Gagosian Gallery. URL: https://gagosian.com/shop/books/2006-damien-hirst-a-thousand-years/ Hirst, Damien. (1992). I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now. Thames & Hudson. URL: https://thamesandhudson.com/i-want-to-spend-the-rest-of-my-life-everywhere-with-everyone-one-to-one-always-forever-now-9780500276600 Hirst, Damien. (1997). Damien Hirst: I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now. Booth-Clibborn Editions. URL: https://www.booth-clibborn.com/product/damien-hirst-i-want-to-spend-the-rest-of-my-life-everywhere-with-everyone-one-to-one-always-forever-now/ Schama, Simon. (1997). Dead Right: The Great Adventure of Damien Hirst. The New Yorker, 73(26), 46-55. URL: https://www.newyorker.com/magazine/1997/09/22/dead-right Livingstone, Marco. (2000). Damien Hirst. Tate Publishing. URL: https://shop.tate.org.uk/damien-hirst/15967.html Heartney, Eleanor. (2004). Damien Hirst. Taschen. URL: https://www.taschen.com/pages/en/catalogue/art/all/45308/facts.damien_hirst.htm Smith, Karen. (2012). Who's afraid of Damien Hirst? Visual Culture in Britain, 13(3), 359-383. URL: https://www.tandfonline.com/doi/abs/10.1080/14714787.2012.707529 Stallabrass, Julian. (1999). High Art Lite: British Art in the 1990s. Verso. URL: https://www.versobooks.com/books/498-high-art-lite Bishop, Claire. (2006). The Social Turn: Collaboration and Its Discontents. Artforum International, 44(6), 178-183. URL: https://www.artforum.com/print/200604/the-social-turn-collaboration-and-its-discontents-12309 Hirst, Damien. (1993). Some Went Mad, Some Ran Away. Boxtree. URL: https://www.goodreads.com/book/show/566545.Some_Went_Mad_Some_Ran_Away Graham-Dixon, Andrew. (2001). Damien Hirst. Harry N. Abrams. URL: https://www.penguinrandomhouse.com/books/116562/damien-hirst-by-andrew-graham-dixon/ Jones, Jonathan. (2001). Damien Hirst: On the Way to Work. Faber & Faber. URL: https://www.faber.co.uk/9780571219112-damien-hirst.html Gompertz, Will. (2015). What Are You Looking At? The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art. Plume. URL: https://www.penguinrandomhouse.com/books/308087/what-are-you-looking-at-by-will-gompertz/ Ferguson, Russell. (1996). The Young British Artists. Thames & Hudson. URL: https://www.thamesandhudson.com/the-young-british-artists-0-500-28039-1 Kent, Sarah. (1999). Young British Art: The Saatchi Decade. Booth-Clibborn Editions. URL: https://www.goodreads.com/book/show/5464349-young-british-art Kent, Sarah. (2001). Shark-Infested Waters: The Saatchi Collection of British Art in the 90s. Thames & Hudson. URL: https://www.thamesandhudson.com/shark-infested-waters-9780500282328 Barber, Fionna. (1999). The Art of Medicine. BMJ: British Medical Journal, 319(7223), 1580. URL: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1117243/ Gompertz, Will. (1997). The Other Hirst. The Guardian. Retrieved from https://www.theguardian.com/education/1997/sep/16/arts.highereducation Schama, Simon. (1997). Dead Right: The Great Adventure of Damien Hirst. The New Yorker, 73(26), 46-55. URL: https://www.newyorker.com/magazine/1997/09/22/dead-right Walker, John A. (2000). Art in the Age of Mass Media. Pluto Press. URL: https://www.plutobooks.com/9780745316422/art-in-the-age-of-mass-media/ Curtis, Penelope. (2001). Sculpture 1900-1945. Oxford University Press. URL: https://global.oup.com/academic/product/sculpture-9780192842057?cc=us&lang=en& Dorment, Richard. (2012). Damien Hirst: Why the artist is more important than the art. The Telegraph. Retrieved from https://www.telegraph.co.uk/culture/art/9572193/Damien-Hirst-Why-the-artist-is-more-important-than-the-art.html King, Elliott H. (2008). Damien Hirst and the Death of Art. New England Review, 29(3), 139-144. URL: https://www.jstor.org/stable/30042283 Mullins, Edwin. (2006). The Painted Word: British Conceptualism 1964-1989. Ridinghouse. URL: https://www.ridinghouse.co.uk/publications/44/ Knight, Christopher. (1999). For Art's Sake: An Open Letter to Charles Saatchi. Los Angeles Times. Retrieved from https://www.latimes.com/archives/la-xpm-1999-jun-20-ca-48476-story.html Wullschlager, Jackie. (2009). The Stuckists: punk art rebels. Financial Times. Retrieved from https://www.ft.com/content/0c413354-9299-11de-aed2-00144feabdc0 Morris, Catherine. (2003). Strange Pilgrimages: Damien Hirst's “End of an Era” and the Production of British Art History. Oxford Art Journal, 26(1), 35–52. URL: https://academic.oup.com/oaj/article/26/1/35/1346697 Molloy, Sean. (2008). Hirst's animal art under investigation. The Independent. Retrieved from https://www.independent.co.uk/arts-entertainment/art/news/hirsts-animal-art-under-investigation-771465.html Cohen, Patricia. (2009). Art Review: Death Be Not Proud? The New York Times. Retrieved from https://www.nytimes.com/2009/06/01/arts/design/01hirst.html Gleadell, Colin. (2010). Damien Hirst: What's the Big Idea? The Telegraph. Retrieved from https://www.telegraph.co.uk/culture/art/artsales/7626885/Damien-Hirst-whats-the-big-idea.html Dorment, Richard. (2008). Damien Hirst: This artist's a sensation, but is he a great artist? The Telegraph. Retrieved from https://www.telegraph.co.uk/culture/art/3673577/Damien-Hirst-This-artists-a-sensation-but-is-he-a-great-artist.html Chilvers, Ian, and Glaves-Smith, John. (2009). A Dictionary of Modern and Contemporary Art (2nd ed.). Oxford University Press. URL: https://global.oup.com/academic/product/a-dictionary-of-modern-and-contemporary-art-9780199239658?cc=us&lang=en& Robertson, Jean. (2006). The Art Business. Routledge. URL: https://www.routledge.com/The-Art-Business/Robertson/p/book/9780415364796 Find out more at https://three-minute-modernist.pinecast.co

Today's episode features a conversation with Alison Peirse, a horror film scholar and professor at the University of Leeds. Alison led the project Doing Women's (Global) (Horror) Film History (DWGHFH), a year-long video essay mentoring and training program that culminated in a videographic special issue of MAI: Feminism & Visual Culture. DWGHFH features the work of thirty contributors working on "women horror filmmakers in non-anglophone countries, with a particular focus on filmmakers from the Global Majority." Alison and Will discuss the origins of the project, the contributors and mentors who worked on DWGHFH, how the video essays exist into existing scholarship on women horror filmmakers, and much more.  Support the podcast on ⁠⁠⁠Patreon⁠⁠⁠. Follow the show on ⁠⁠⁠Twitter⁠⁠⁠. Learn more at the pod's ⁠⁠⁠website⁠⁠⁠. Get the ⁠⁠⁠free newsletter⁠⁠⁠. Subscribe on ⁠⁠YouTube⁠⁠. Will DiGravio hosted, edited and produced this episode. Emily Su Bin Ko is the show's associate producer. ⁠⁠⁠Music by Ketsa⁠⁠⁠: "Live It," "Anvil," and "Refraining."

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with art curator and art historian Maymanah Farhat. About Curator Maymanah Farhat:Maymanah Farhat's art historical research and curatorial work focus on underrepresented artists and forgotten art scenes. Since 2005, she has written widely on twentieth and twenty-first century art, contributing essays and chapters to edited volumes, artist monographs, and museum and gallery catalogs. She has written for such publications as Brooklyn Rail, Art Journal, Journal of Middle East Women's Studies, Callaloo: A Journal of African Diaspora Arts and Letters, Vogue Arabia, Harper's Bazaar Arabia, Art + Auction, and Apollo. She has presented her research at New York University, Massachusetts Institute of Technology, Harvard Law School, University of Minnesota, the University of Amsterdam, Johns Hopkins University, and Università Ca' Foscari, Venice, Italy, among other institutions.Farhat has curated exhibitions throughout the U.S. and abroad, notably at the San Francisco Public Library, San Francisco Center for the Book, Pro Arts Gallery in Oakland, the Center for Book Arts in Manhattan, Minnesota Center for Book Arts, Minnesota Museum of American Art, Arab American National Museum, Virginia Commonwealth University Gallery in Doha, Qatar, Art Dubai, and Beirut Exhibition Center.Farhat has been included among Foreign Policy's annual list of 100 Leading Global Thinkers in recognition of her scholarship on Syrian art after the uprising (2014) and honored by the Arab America Foundation as one of 40 Arab Americans under the age of 40 who have made significant contributions to the Arab American community (2020). She holds a BA in the History of Art and Visual Culture from the University of California, Santa Cruz and a MA in Museum Administration from St. John's University, New York.Visit Maymanah's  Website:  MaymanahFarhat.comFollow  on Instagram:  @Maymanah2.0--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

This week on Below the Radar, we are joined by T.J. Demos, Professor in the Department of the History of Art and Visual Culture at University of California, Santa Cruz, and Director of its Center for Creative Ecologies. Together, they chat about TJ's book, Radical Futurisms: Ecologies of Collapse, Chronopolitics, and Justice-to-Come. They also discuss the question of climate justice in visual culture, green capitalism, and fossil fascism. Full episode details: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/235-tj-demos.html Read the transcript: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/transcripts/235-tj-demos.html Resources: T. J.'s website: https://tjdemos.sites.ucsc.edu Center for Creative Ecologies: https://creativeecologies.ucsc.edu Radical Futurisms: Ecologies of Collapse, Chronopolitics, and Justice-to-Come: https://www.sternberg-press.com/product/radical-futurisms/ Against the Anthropocene: Visual Culture and Environment Today: :https://www.sternberg-press.com/product/against-the-anthropocene-visual-culture-and-environment-today/ Decolonizing Nature: Contemporary Art and the Politics of Ecology: https://mitpress.mit.edu/9783956790942/decolonizing-nature/ T.J. Demos Essays: https://ucsc.academia.edu/TjDemos Bio: T. J. Demos is the Patricia and Rowland Rebele Endowed Chair in Art History in the Department of the History of Art and Visual Culture, at University of California, Santa Cruz, and founding Director of its Center for Creative Ecologies. Demos is the author of several books, including Against the Anthropocene: Visual Culture and Environment Today (Sternberg Press, 2017); Decolonizing Nature: Contemporary Art and the Politics of Ecology (Sternberg Press, 2016); The Migrant Image: The Art and Politics of Documentary During Global Crisis (Duke University Press, 2013) – winner of the College Art Association's 2014 Frank Jewett Mather Award – and Return to the Postcolony: Spectres of Colonialism in Contemporary Art (Sternberg Press, 2013). He recently co-edited The Routledge Companion on Contemporary Art, Visual Culture, and Climate Change (2021), was a Getty Research Institute Fellow (Spring 2020), and directed the Mellon-funded Sawyer Seminar research project Beyond the End of the World (2019-21). Demos was Chair and Chief Curator of the Climate Collective, providing public programming related to the 2021 Climate Emergency > Emergence program at the Museum of Art, Architecture and Technology (Maat) in Lisbon. His new book, Radical Futurisms: Ecologies of Collapse, Chronopolitics, and Justice-to-Come, 2023, is now out from Sternberg Press. Cite this episode: Chicago Style Johal, Am. “Radical Futurisms — with T.J. Demos.” Below the Radar, SFU's Vancity Office of Community Engagement. Podcast audio, February 27, 2024. https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/235-tj-demos.html.

This episode of The Photo Vault prompts us to question the world around us by examining product packaging, which often reinforces and perpetuates stereotypical norms in various aspects of our lives.Our guest, Annebella Pollen, a professor of Visual and Material Culture, author of numerous books, and an avid collector, delves into some of her projects, interests, and findings. Discover why a seemingly innocuous bikini advertisement can contribute to reinforcing stereotypes and why Annebella champions the rejects.Links to some of her publications are provided below, along with references to further contextualize our episode.--------Books by Annebellla:Mass Photography Collective Histories of Everyday LifeMore Than A Snapshot: A Visual History of Photo WalletsPodcastGlass Eye: A Podcast on Visual Culture from South Asia: Kodak WomenOther LinksKodak AdvertBoots AdvertFollow us on Instagram:@Vernacular Social Club@Lukas BirkBecome a Vernacular Social Club member

Rendering Unconscious episode 272. Rendering Unconscious welcomes Dr. Ana Leorne to the podcast to discuss her new book This Is the Strangest Life I've Ever Known – A Psychological Portrait of Jim Morrison (Trapart Books, 2023). https://www.bygge.trapart.net/?page_id=82 Join Portuguese writer Ana Leorne as she takes us on a trip into the mind of troubled rock star-poet-genius Jim Morrison. Diving into the era, the man, his art, the surrounding people, and not least the myth of The Doors' enigmatic frontman, Leorne paints an illuminating picture of seemingly inevitable self-destruction – but also one of undeniable brilliance. Ana Leorne (Porto, 1984) is a writer, artist, and researcher. She has started her career as a musician (Rope, The Clits, Annette Blade, Portuguese cast of RENT) while completing a BA in Fine Arts at University of Porto and producing work in the fields of photography, video, installation, and performance. She also holds a MA in Film Studies from NOVA University of Lisbon with a dissertation on psychoanalysis and Stanley Kubrick, and a PhD in Visual Cultures from EHESS with a dissertation on issues of identity, public image, and visual representation in the Beatles' films and videos. Formerly associate editor at The 405 and digital media executive at MTV Portugal, her writing has appeared on Bandcamp, Elegy Iberica, Recording Academy/The Grammys, SFGate, Público, Beats Per Minute, SPIN, The Guardian, and many others. She's also the author of “Dear Dr Freud” for David Bowie: Critical Perspectives (Routledge, 2015). She currently lives in Paris. Follow her on social media: Instagram: https://www.instagram.com/analeorne/ Twitter: https://twitter.com/analeorne Mentioned in this episode: EUPOP: https://epcablog.wordpress.com Dancing with Salomé – Courting the Uncanny with Oscar Wilde & Friends (Trapart Books, 2021) by Nina Antonia: https://www.bygge.trapart.net/?s=Nina+antonia The Collected Works of Jim Morrison A GUIDE TO THE LABYRINTH: https://www.genesis-publications.com/book/9781905662708/a-guide-to-the-labyrinth This discussion available to view at YouTube: https://youtu.be/mfdU1Xw7VVo?si=b6CWtIjIWgC4BwiO Support the podcast at our Patreon where we post exclusive content every week, as well as unreleased material and works in progress, and we also have a Discord server: https://www.patreon.com/vanessa23carl Your support is GREATLY appreciated! Rendering Unconscious Podcast is hosted by Dr. Vanessa Sinclair, a psychoanalyst based in Sweden, who works with people internationally: www.drvanessasinclair.net Follow Dr. Vanessa Sinclair on social media: Instagram: https://www.instagram.com/rawsin_/ TikTok: https://www.tiktok.com/@drvanessasinclair23 Visit the main website for more information and links to everything: www.renderingunconscious.org Many thanks to Carl Abrahamsson, who created the intro and outro music for Rendering Unconscious podcast. https://www.carlabrahamsson.com Check out Highbrow Lowlife at Bandcamp: https://highbrowlowlife.bandcamp.com His publishing company is Trapart Books, Films and Editions. https://store.trapart.net Follow him at: Twitter: https://twitter.com/CaAbrahamsson Instagram: https://www.instagram.com/carl.abrahamsson/ TikTok: https://www.tiktok.com/@carlabrahamsson YouTube: https://www.youtube.com/@carlabrahamsson23 The song at the end of the episode is “Be the true self (cut-ups were used)” from the brand new album “The Experience (For The Weird)” by Vanessa Sinclair and Pete Murphy. Available at Pete Murphy's Bandcamp Page. Our music is also available at Spotify and other streaming services. https://petemurphy.bandcamp.com Also available at Spotify and other streaming services. https://open.spotify.com/artist/3xKEE2NPGatImt46OgaemY?si=nqv_tOLtQd2I_3P_WHdKCQ Image: Ana Leorne

In the decades leading up to the Civil War, abolitionists crafted a variety of visual messages about the plight of enslaved people, portraying the violence, familial separation, and dehumanisation that they faced. In response, proslavery southerners attempted to counter these messages either through idealisation or outright erasure of enslaved life. In Hidden in Plain Sight: Concealing Enslavement in American Visual Culture (University of Arkansas Press, 2023), Dr. Rachel Stephens addresses an enormous body of material by tracing themes of concealment and silence through paintings, photographs, and ephemera, connecting long overlooked artworks with both the abolitionist materials to which they were responding and archival research across a range of southern historical narratives. Dr. Stephens begins her fascinating study with an examination of the ways that slavery was visually idealised and defended in antebellum art. She then explores the tyranny—especially that depicted in art—enacted by supporters of enslavement, introduces a range of ways that artwork depicting slavery was tangibly concealed, considers photographs of enslaved female caretakers with the white children they reared, and investigates a printmaker's confidential work in support of the Confederacy. Finally, she delves into an especially pernicious group of proslavery artists in Richmond, Virginia. Reading visual culture as a key element of the antebellum battle over slavery, Hidden in Plain Sight complicates the existing narratives of American art and history. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In the decades leading up to the Civil War, abolitionists crafted a variety of visual messages about the plight of enslaved people, portraying the violence, familial separation, and dehumanisation that they faced. In response, proslavery southerners attempted to counter these messages either through idealisation or outright erasure of enslaved life. In Hidden in Plain Sight: Concealing Enslavement in American Visual Culture (University of Arkansas Press, 2023), Dr. Rachel Stephens addresses an enormous body of material by tracing themes of concealment and silence through paintings, photographs, and ephemera, connecting long overlooked artworks with both the abolitionist materials to which they were responding and archival research across a range of southern historical narratives. Dr. Stephens begins her fascinating study with an examination of the ways that slavery was visually idealised and defended in antebellum art. She then explores the tyranny—especially that depicted in art—enacted by supporters of enslavement, introduces a range of ways that artwork depicting slavery was tangibly concealed, considers photographs of enslaved female caretakers with the white children they reared, and investigates a printmaker's confidential work in support of the Confederacy. Finally, she delves into an especially pernicious group of proslavery artists in Richmond, Virginia. Reading visual culture as a key element of the antebellum battle over slavery, Hidden in Plain Sight complicates the existing narratives of American art and history. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the decades leading up to the Civil War, abolitionists crafted a variety of visual messages about the plight of enslaved people, portraying the violence, familial separation, and dehumanisation that they faced. In response, proslavery southerners attempted to counter these messages either through idealisation or outright erasure of enslaved life. In Hidden in Plain Sight: Concealing Enslavement in American Visual Culture (University of Arkansas Press, 2023), Dr. Rachel Stephens addresses an enormous body of material by tracing themes of concealment and silence through paintings, photographs, and ephemera, connecting long overlooked artworks with both the abolitionist materials to which they were responding and archival research across a range of southern historical narratives. Dr. Stephens begins her fascinating study with an examination of the ways that slavery was visually idealised and defended in antebellum art. She then explores the tyranny—especially that depicted in art—enacted by supporters of enslavement, introduces a range of ways that artwork depicting slavery was tangibly concealed, considers photographs of enslaved female caretakers with the white children they reared, and investigates a printmaker's confidential work in support of the Confederacy. Finally, she delves into an especially pernicious group of proslavery artists in Richmond, Virginia. Reading visual culture as a key element of the antebellum battle over slavery, Hidden in Plain Sight complicates the existing narratives of American art and history. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Curator Alice Wilke transports from Switzerland to sub-Saharan cities in Africa, tracing Carnival traditions across continents, via Carrie Mae Weems' 20th century wallpapers, ceramic plates, and photographs. In 1993, the North American artist Carrie Mae Weems undertook a ‘pilgrimage' to West Africa to discover her heritage. With photographs of historic architectures, former slave sites, and colonies, she seeks to retell histories about the origins of civilisation - but ones which also highlight her position as a contemporary artist practicing from a diaspora. As The Evidence of Things Not Seen - the final stop on Weems' current ‘world tour' of exhibitions - opens in Switzerland, curator Alice Wilke talks about how the show has changed from between the Barbican, in London, and Basel. Starting with the Missing Link series (2003), we consider the particular history of Carnival in Basel, a time of social and political critique, and tradition with unexpected connections to the Caribbean. We see how Weems relocates celebrated - and celebrity - Black women like Mary J. Blige in her practice, composing photographs like Baroque paintings to play on conventions of Western/European art, and keep stories alive through their retelling. Moving through Weems' wider work, we consider the racism, internalised shadism, and hyper-visibility of Black people in society, and what European institutions haven't yet seen, in their under-representation of POC artists. Carrie Mae Weems. The Evidence of Things Not Seen runs at the Kunstmuseum Basel in Switzerland until 7 April 2024. For more, you can read my article. Part of JOURNEYS, a series of episodes leading to EMPIRE LINES 100. Return to Carrie Mae Weems: Reflections for Now at the Barbican in London, with curator Florence Ostende's EMPIRE LINES episode on From Here I Saw What Happened and I Cried (1995-1996): pod.link/1533637675/episode/b4e1a077367a0636c47dee51bcbbd3da For more about Weems' wallpapers, read about BLACK VENUS: Reclaiming Black Women in Visual Culture at Somerset House, in gowithYamo: gowithyamo.com/blog/reclaiming-visual-culture-black-venus-at-somerset-house For more about Dogon architecture in Africa, listen to Dr. Peter Clericuzio's episode on The Great Mosque(s) of Djenné, Mali, on EMPIRE LINES: pod.link/1533637675/episode/079e9ccf333c54e7116ce0f9a6e7a70c WITH: Alice Wilke, assistant curator at the Kunstmuseum Basel in Switzerland. She has worked as a research assistant at the city's HGK FHNW Art Institute, where she supervised the podcast series Promise No Promises!, the Kunsthalle Göppingen, and the Museum Tinguely. She is the assistant curator of The Evidence of Things Not Seen, with curator Maja Wismer. ART: ‘Africa Series, Carrie Mae Weems (1993)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Legendary visual artist Cey Adams grew up in NYC immersed in the excitement and danger of graffiti, embellishing buildings and tagging “Cey City” on subway cars. From there, he began selling in galleries along with contemporaries Jean-Michel Basquiat and Keith Haring, and designing merch, logos and singles for Run DMC, Beastie Boys, and LL Cool J. As founding Creative Director of Def Jam he designed cover art for Slick Rick, Public Enemy, Notorious B.I.G., Mary J. Blige, etc., toured with his good friends the Beastie Boys, and asked Method Man for parenting advice - all in a day at the office. 40+ years into his prolific career as a celebrated commercial and fine artist, he's recognized as a defining visionary of hip-hop culture.Images and more from Cey Adams on cleverpodcast.comPlease say Hi on social! Twitter, Instagram and Linkedin - @CleverPodcast, @amydevers,If you enjoy Clever we could use your support! Please consider leaving a review, making a donation, becoming a sponsor, or introducing us to your friends! We love and appreciate you!Clever is hosted & produced by Amy Devers, with editing by Mark Zurawinski, production assistance from Ilana Nevins and Anouchka Stephan, and music by El Ten Eleven. Hosted on Acast. See acast.com/privacy for more information.

Dr. Halsall's Growing Up Graphic: The Comics of Children in Crisis (Ohio State UP, 2023) has four primary objectives.  One, it explores this visual and literary medium that is heavily invested in the representation of children and youth, especially in relation to the depiction of particular experiences (social, political, cultural, racial, sexual, ableist, etc.) that young people have undergone and continue to live through. These texts contest images of childhood victimization, passivity, and helplessness, presenting instead children as actors who attempt to make sense of the challenges that affect them.  Two, it examines the many circuitous routes that graphic literature for young people takes in and out of discourses of nation, belonging, ableism, and identity, moving with and oftentimes against currents of power.  Three, it participates in a crucial intersectional trend in children's publishing that looks to complicate and diversify the content and characters produced for young readers in the Global North. Specifically, it highlights visual representations of a range of young people, including child soldiers, migrants, Indigenous peoples in Canada, queers, and young people living with impairments and/or undergoing particular medical life events. In its investigation of such subjects it also considers questions of age and audience.  Finally, it considers the reader as a source tension itself: the reader that is produced by the graphic text and the empirical reader (who might be an adult, child, etc.). Ultimately, this project considers graphic narratives for children and about children, an under-explored field in itself, and one that provides surprising insight into the types of reading material that young readers gravitate towards and that complicate assumptions of readerly innocence. (Halsall 2023: P8) In this interview Dr. Halsall talks about frameworks for analyzing comics aimed at young readers, how contemporary culture and politics can influence access to these works, and hopes for the creation of a new comics archive. Dr. Alison Halsall is an Associate Professor at York University in Toronto, Canada, and the coordinator of the Children, Childhood and Youth Program, part of the Department of Humanities. Her work is interdisciplinary and trans-generic – in addition to children's literature she specializes in Victorian and modernist literatures, with a particular emphasis on Visual Cultures, which includes the study of paintings and illustrations, contemporary film, comics and graphic novels. Alison Halsall and co-editor Jonathan Warren received the 2023 Will Eisner Awards for Best Academic/Scholarly Work for editing The LGBTQ+ Comics Studies Reader: Critical Openings, Future Directions. Elizabeth Allyn Woock an assistant professor in the Department of English and American Studies at Palacky University in the Czech Republic with an interdisciplinary background in history and popular literature. Her specialization falls within the study of comic books and graphic novels. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

One of the most consequential wars in global history happened in 1898, and despite the 125th anniversary of that war, there has been little attention paid to this conflict. One exception is the National Portrait Gallery's exhibition 1898: U.S. Imperial Visions and Revisions. The museum's curator Taína Caragol and historian Kate Clarke Lemay who created the exhibition join the show to explain why it was so important to showcase the events of that fateful year.Essential Reading:Taína Caragol and Kate Clarke Lemay, 1898: Visual Culture and U.S. Imperialism in the Caribbean and the Pacific (2023).1898: U.S. Imperial Visions and Revision (exhibition website)Recommended Reading:Bonnie Miller, From Liberation to Conquest: The Visual and Popular Cultures of the Spanish-American War of 1898 (2011).Kristin Hoganson, Fighting for American Manhood (2000).Matthew Frye Jacobson, Barbarian Virtues: The United States Encounters Foreign Peoples at Home and Abroad, 1876-1917 (2001). Hosted on Acast. See acast.com/privacy for more information.

How can we use comics to present ethnographic research in new and unique ways? In this episode, we talk with Dr V Chitra about the fieldwork and comics in her soon-to-be-released book Drawing Coastlines. She talks about the ethnographic insights on contamination and climate change that came from sorting fish, and her process of developing comics that portray the everyday experiences and environmental degradation of coastal communities in Mumbai. She also discusses future problems on human-insect and human-dog relations, questioning our own capacity to accept the feral.  Finally, she ends with a few recommendations of ethnographies for our listeners: Earth Beings: Ecologies of Practice Across Andean Worlds, Marisol de la Cadena; Animal Intimacies: Interspecies Relatedness in India's Central Himalayas, Radhika Govindrajan; On Line and On Paper: Visual Representations, Visual Culture, and Computer Graphics in Design Engineering, Kathryn Henderson; and When Species Meet, Donna Haraway. And related to comics: Making Comics, Lynda Barry; Understanding Comics, Scott McCloud; and Forecasts: A Story of Weather and Finance at the Edge of Disaster, by Caroline E. Schuster and illustrated by Enrique Bernardou and David Bueno. Sneha Annavarapu is Assistant Professor of Urban Studies at Yale-NUS College. Alex Diamond is Assistant Professor of sociology at Oklahoma State University. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Why do we like horror films? Why do we gravitate to the theatre for a collective catharsis—living out our nightmares vicariously through the unwitting victim on the screen? What draws us to the shadows? All the more poignant for the Christian who shouldn't watch the bad movies. But let's take the point seriously: How might we watch horror films Christianly? Which is to say: How do we watch them well?Theologian and film critic Kutter Callaway (Fuller Theological Seminary) joins Evan Rosa for a discussion of some truly frightening horror films. His new podcast “Be Afraid” is produced by Christianity Today, and explores horror films and the theology and psychology of fearing rightly.In addition to discussing some of our favorite scary movies Kutter Callaway and Evan Rosa discuss: The psychology of fear and why people might willingly rehearse their fears; the radical vulnerability of human life that makes us susceptible to horrors; the Bible as horror genre; the human inclination toward the numinous, unknown, mysterious, and uncanny; managing our terror about death; and ultimately, how to fear rightly.This episode was made possible in part by the generous support of the Tyndale House Foundation. For more information, visit tyndale.foundation.Show NotesListen to Be Afraid, with Kutter CallawayWhat's so scary about clowns and dolls? And why is Kutter Callaway afraid of them?Toy Story as Horror FlickThe Shining, psychological horror, and when children are involved.William James, Father of American PsychologyRudolf OttoMysterium Tremendum et Fascinans—the numinous, equal parts compelling and terrifyingAwe and terror—”big, overwhelming, and unknown”Marilyn McCord Adams' Christ & Horrors“It brings us to the end of ourselves”“There's nothing to be afraid of” is a lie!Should we be afraid?“Perfect love casts out fear”The fear of the Lord is the beginning of wisdom.Learning how to fear rightlyChristian leverages fear all the time“Fear the one who can destroy both body and soul.”M1028—graphically violent and theologically backwardsWhat have you learned about fear from a psychological perspective?Justin Barrett and the cognitive science of religionHumans have the near-universal tendency to infer agency to things that go bump in the night.“We don't run from a bear because we're afraid. We're afraid because we're running.”Practicing and rehearsing “how to be afraid”Storytelling and catharsisSophocles, Oedipus Rex, and feeling the chills of tragedyArt and storytelling that traffics in empathyGet Out—empathy and viscerally feeling something—”that movie disturbed me on a level that I needed to be disturbed.”Paul Riceour on narrative and reappropriation—applied to horror and feeling empathy for the otherThe Exorcist—slow and quiet by modern standards, but outbursts of terrorTheodicy in The ExorcistAre horror films beautiful?About Kutter CallawayKutter Callaway is the William K. Brehm Chair of Worship, Theology, and the Arts, as well as associate dean of the Center for Advanced Theological Studies, and associate professor of theology and culture. He is actively engaged in writing and speaking on the interaction between theology and culture—particularly film, television, and online media—in both academic and popular forums.Dr. Callaway holds two PhDs, one in theology and the second in psychological science, both from Fuller. His most recent book is Theology for Psychology and Counseling: An Invitation to Holistic Christian Practice (2022). Past books include Techno-Sapiens in a Networked Era: Becoming Digital Neighbors (2020), which he coauthored with Fuller's Associate Professor of Church in Contemporary Culture Ryan Bolger; The Aesthetics of Atheism: Theology and Imagination in Contemporary Culture (2019); and Deep Focus: Film and Theology in Dialogue (2019). Past books include Breaking the Marriage Idol: Reconstructing our Cultural and Spiritual Norms (2018), Watching TV Religiously: Television and Theology in Dialogue (2016) and Scoring Transcendence: Contemporary Film Music as Religious Experience (2013). In addition, he contributed to God in the Movies (2017); Halos and Avatars (2010), the first book on theology and video games; and Don't Stop Believin' (2012), a dictionary of religion and popular culture.Callaway cochairs the Religion, Film, and Visual Culture group at the American Academy of Religion. He also partnered with Paulist Productions to produce the YouTube series Should Christians Watch? His professional memberships include the American Academy of Religion, American Psychological Association, and the Society of Biblical Literature. He is ordained as a Baptist minister.Production NotesThis podcast featured Kutter CallawayEdited and Produced by Evan RosaHosted by Evan RosaProduction Assistance by Macie BridgeA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/giveThis episode was made possible in part by the generous support of the Tyndale House Foundation. For more information, visit tyndale.foundation.

Addressing the relationship between law and the visual, this book examines the importance of photography in Central, East, and Southeast European show trials. The dispensation of justice during communist rule in Albania, East Germany, and Poland was reliant on legal propaganda, making the visual a fundamental part of the legitimacy of the law. Analysing photographs of trials, Agata Fijalkowski's Law, Visual Culture, and the Show Trial (Routledge, 2023) examines how this message was conveyed to audiences watching and participating in the spectacle of show trials. The book traces how this use of the visual was exported from the Soviet Union and imposed upon its satellite states in the immediate aftermath of the Second World War. It shows how the legal actors and political authorities embraced new photographic technologies to advance their legal propaganda and legal photography. Drawing on contemporary theoretical work in the area, the book then challenges straightforward accounts of the relationship between law and the visual, critically engaging entrenched legal historical narratives, in relation to three different protagonists, to offer the possibility of reclaiming and rewriting past accounts. As its analysis demonstrates, the power of images can also be subversive; and, as such, the cases it addresses contribute to the discourse on visual epistemology and open onto contemporary questions about law and its inherent performativity. Alex Batesmith is a Lecturer in Legal Profession in the School of Law at the University of Leeds, and a former barrister and UN war crimes prosecutor, with teaching and research interests in international criminal law, cause lawyering and the legal profession, and law and emotion. Twitter: @batesmith. LinkedIn.  His recent publications include: “‘Poetic Justice Products': International Justice, Victim Counter-Aesthetics, and the Spectre of the Show Trial” in Christine Schwöbel-Patel and Rob Knox (eds) Aesthetics and Counter-Aesthetics of International Justice (Counterpress, forthcoming 2023, ISBN 978-1-910761-17-5) "Lawyers who want to make the world a better place – Scheingold and Sarat's Something to Believe In: Politics, Professionalism, and Cause Lawyering" in D. Newman (ed.) Leading Works on the Legal Profession (Routledge, July 2023), ISBN 978-1-032182-80-3) “International Prosecutors as Cause Lawyers" (2021) Journal of International Criminal Justice 19(4) 803-830 (ISSN 1478-1387) Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Addressing the relationship between law and the visual, this book examines the importance of photography in Central, East, and Southeast European show trials. The dispensation of justice during communist rule in Albania, East Germany, and Poland was reliant on legal propaganda, making the visual a fundamental part of the legitimacy of the law. Analysing photographs of trials, Agata Fijalkowski's Law, Visual Culture, and the Show Trial (Routledge, 2023) examines how this message was conveyed to audiences watching and participating in the spectacle of show trials. The book traces how this use of the visual was exported from the Soviet Union and imposed upon its satellite states in the immediate aftermath of the Second World War. It shows how the legal actors and political authorities embraced new photographic technologies to advance their legal propaganda and legal photography. Drawing on contemporary theoretical work in the area, the book then challenges straightforward accounts of the relationship between law and the visual, critically engaging entrenched legal historical narratives, in relation to three different protagonists, to offer the possibility of reclaiming and rewriting past accounts. As its analysis demonstrates, the power of images can also be subversive; and, as such, the cases it addresses contribute to the discourse on visual epistemology and open onto contemporary questions about law and its inherent performativity. Alex Batesmith is a Lecturer in Legal Profession in the School of Law at the University of Leeds, and a former barrister and UN war crimes prosecutor, with teaching and research interests in international criminal law, cause lawyering and the legal profession, and law and emotion. Twitter: @batesmith. LinkedIn.  His recent publications include: “‘Poetic Justice Products': International Justice, Victim Counter-Aesthetics, and the Spectre of the Show Trial” in Christine Schwöbel-Patel and Rob Knox (eds) Aesthetics and Counter-Aesthetics of International Justice (Counterpress, forthcoming 2023, ISBN 978-1-910761-17-5) "Lawyers who want to make the world a better place – Scheingold and Sarat's Something to Believe In: Politics, Professionalism, and Cause Lawyering" in D. Newman (ed.) Leading Works on the Legal Profession (Routledge, July 2023), ISBN 978-1-032182-80-3) “International Prosecutors as Cause Lawyers" (2021) Journal of International Criminal Justice 19(4) 803-830 (ISSN 1478-1387) Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Yvette Borja interviews Professors Gloria Negrete-Lopez and Brooke Lober about their contributions to the anthology Abolition Feminisms. They discuss why we need abolition feminisms in this moment, how aesthetics are inherently political, and how the stereotypical anarchist all-black garb erases femme abolitionist aesthetics. Buy Abolition Feminisms here: https://www.haymarketbooks.org/books/1881-abolition-feminisms-vol-1To support the podcast, become a patreon subscriber and get access to exclusive content: https://patreon.com/radiocachimbona?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_linkFollow @RadioCachimbona on Instagram, Twitter, and Facebook

Melvyn Bragg and guests discuss Orson Welles' film, released in 1941, which is widely acclaimed as one of the greatest, if not the greatest, films yet made. Welles plays the lead role of Charles Foster Kane, a newspaper magnate, and Welles directed, produced and co-wrote this story of loneliness at the heart of a megalomaniac. The plot was partly inspired by the life of William Randolph Hearst, who then used the power of his own newspapers to try to suppress the film's release. It was to take some years before Citizen Kane reached a fuller audience and, from that point, become so celebrated. The image above is of Kane addressing a public meeting while running for Governor. With Stella Bruzzi Professor of Film and Dean of Arts and Humanities at University College London Ian Christie Professor of Film and Media History at Birkbeck, University of London And John David Rhodes Professor of Film Studies and Visual Culture at the University of Cambridge Producer: Simon Tillotson