Podcasts about Walter De Maria

Today in 1935, the birthday of Walter De Maria, an artist behind one of the most unusual art installations you'll ever come across: a loft in New York that he filled with dirt. Plus: the Morris Arboretum and Gardens at the University of Pennsylvania is now home to an immersive audio installation by artist Richard Hamilton. Inside The SoHo Apartment That's Been Filled With Dirt Since 1977 (Gothamist) Take a Journey of Sound Through the Morris (Morris Arboretum & Gardens) Our Patreon backers fill our show with support every day --- Support this podcast: https://podcasters.spotify.com/pod/show/coolweirdawesome/support

What does culture look like in a “sustainable” world? In episode of 10 of (Pop) Cultural Marxism, Ajay, Isi, and guest Rebecca Ariel Porte examine the problems with “green” technology and consumption—which, it turns out, do little, nothing, or less than nothing to sustain the environment—and talk about the kinds of cultural forms, from literature to architecture to games, that are not only sustainable in terms of ecology and society but also aesthetically compelling and beautiful. How does genuine ecological sustainability depend on social sustainability for artists and engineers and other creative workers, and promote far richer aesthetic expressions? Why is so much “Green”-branded work—in everything from the built world to fine art—anything but? What forms of aesthetic creation not usually thought of as ecological, are actually sustainable in every dimension? How does our current unsustainable social and ecological society constrict imagination and creative effloresce? And how would even a modestly more sustainable world, actually enable and support such creative flourishing? Looking to both current and historical examples, Isi, Rebecca, and Ajay review art installations like Walter De Maria's The New York Earth Room and the MOMA's Emerging Ecologies: Architecture and the Rise of Environmentalism; architecture from the “PR-architecture” of projects like “Oceanix” to the actual sustainability found in works like Võ Tr?ng Ngh?a's “Farming Kindergarten”; unexhausted forms in music (from Bach to Stravinsky, pop music to the vast world of jazz) and in verse, such as the ghazals of poet Anthony Madrid; film, tv, and even videogames, whether low-powered and low-tech (as with recent critical and commercial successes like Hades (Supergiant) or Stardew Valley (Concerned Ape)) or high-powered and high-tech (and highly popular), like Zelda, Elden Ring, and more. How is production—from emissions to mineral inputs, exploitative assembly and “crunch”—key to understanding aesthetic exhaustions? How does unsustainable ecological design and an ever accelerating model of production stifle creativity and promote ever narrower, more costly, and less interesting work? How does a model like streaming—and other modes of supposedly “dematerialized” distribution—actually obscure ecological damage while simultaneously making aesthetic production more difficult for artists and aesthetic consumption less compelling for everyone? What is the “trickle up misery” of “defensive architecture”? In the face of a capitalist ethos that always insists on creativity as bound to a logic of “bigger, faster, better, more,” the conversation explores the ways in which working, creating, designing, and engineering within limits has produced some of the most exciting aesthetic forms and experiences, and how the necessity of ecological and social limits can act as the “enabling constraints” of a far more compelling aesthetic life than the all-too-real dystopia of today.

This episode features the 1st half of the full episode. To get the full version, please visit: Patreon.com/theconversationpod    The Conversation Art Podcast | creating a podcast that goes behind the scenes of the art worlds | Patreon Recovering art worker and author of the novel Thieves, Valerie Werder talks about: Her entrance into the art world via her demanding position at a fancy gallery in her attempt, as a newbie, to get access and proximity to the art world;  her ability to conform and comply under pressure (in the gallery environment), and the what the flip side of that looks like; what the coercion, that came thru various forms of care and the engendering of a ‘family' dynamic at the gallery, looked like and how it played out, including through fancy paid meals and credit for fancy clothes so she could look and act the part; how working at a gallery gave her a completely different relationship to language, including the quick turnaround she had to produce, becoming a ‘language producing machine' in the process; the craft of writing a gallery press release, and how she ultimately became, upon writing her novel, the ‘commodity' herself that she in turn needed to sell. In the 2nd half of the episode, Valerie talks about: her creative workarounds to promote her book, including using two very different kinds of publicists, and how throughout her professional career she's been aware of and pushed against the given economic constraints, and how she believes it's important to be explicit and unashamed about everything from her day jobs to the creation of her (writing) brand; the difference between the mythologizing/branding of artists back in the days of a much smaller (yet cut-throat) New York art world (of Donald Judd, Robert Smithson and Walter De Maria et al.) and the more diffuse, digital world of today, and how in her book she wanted to explore the legacy and imprint of the peripheral art world figure ‘Valerie' the character who herself was invisible but whose writing, through catalogues and press releases, was/is all over the art world, and in the process the real Valerie the writer becomes a visible figure, a brand herself; the strange relationship she had with her former gallerist boss, whom she became the voice for in press releases and personal emails and even interviews, and how she studied her and had the writings of her voice vetted by the gallerist herself, for which she was valued highly for absolutely being ‘her voice;' how she wrote her book on an ‘unpaid sabbatical' from her job at the gallery, in a friend's cabin in Tennessee, and the complicated circumstances in which she quick her job upon returning from that ‘sabbatical,' which she told the gallery was an artist residency; her doubts about whether her gallerist employer read her book (Thieves); the actual front desk worker (aka gallerina) protocol employed at the gallery where she worked, as far as how to treat different people who came into the gallery, whether they were VIPs who should be greeted by name (through the gallerina memorizing the faces of those collectors) or lowly artists/nobodies who could be ignored; her experience getting a once-over from a wealthy collector at the gallery, and giving that once-over right back to him; Frank Stella and his provocative artwork titling, and how it somehow wasn't Valerie's job to really do research about his work, despite the gallery selling it.

Episode No. 583 features artist William Cordova and curator Michelle White. Cordova is featured in "Beyond the Surface: Collage, Mixed Media and Textile Works from the Collection" at the Nasher Museum of Art at Duke University. The exhibition is on view through May 14. Cordova's work uses a range of media to address and re-make historical narratives. His practice understands that present knowledge of history is always changing, and that artists are part of the process of revising our understandings of the past. Cordova has had solo shows at the Baltimore Museum of Art, the Pérez Art Museum Miami, the Yerba Buena Center for the Arts in San Francisco, and at LAXART in Los Angeles. In 2019 he was included in the Havana Biennial, previously he was included in -ennials at the Whitney Museum of American Art, New York, and in Prague, Venice, and New Orleans (Prospect). On the second segment, White discusses "Walter De Maria: Boxes for Meaningless Work," a survey of De Maria's career drawn mostly from the Menil Collection's outstanding de Maria collection. The exhibition is on view in Houston through April 23.

This week's episode is a two-part special all about land art!! I'm joined by the brilliant art historian Liuka Jonynaite who talks us through two iconic land artists - Walter De Maria and Michael Heizer. We discuss pushing the boundaries of land art, why its an important movement, what it means to create something which is only ever meant to be temporary, why photography is such an important tool in Land Art and what we can all learn about ourselves from looking at something which is only temporary! Before we hit record, I had never come across either artist but, since researching and speaking with Liuka, she has inspired me to learn even more about these two interesting Land artists. Each part of the episode focuses on each artist in particular - the conversation was so good I didn't want to cut anything out so it's a bumper 2 part episode this week for you all! Part 1 Liuka and I discuss: - Walter De Maria Earth Room, Munich, and New York additions - Walter De Maria Mile Long Drawing Part 2 Liuka and I discuss: - Michael Heizer Double Negative - Michael Heizer Munich Depression and its digital execution in the Whitney Museum of Art Real Size Munich Rotary. Thank you so much to Liuka for a brilliant and insightful conversation! Guest: Liuka Jonynaite Host: Jo McLaughlin

This week's episode is a two-part special all about land art!! I'm joined by the brilliant art historian Liuka Jonynaite who talks us through two iconic land artists - Walter De Maria and Michael Heizer. We discuss pushing the boundaries of land art, why its an important movement, what it means to create something which is only ever meant to be temporary, why photography is such an important tool in Land Art and what we can all learn about ourselves from looking at something which is only temporary! Before we hit record, I had never come across either artist but, since researching and speaking with Liuka, she has inspired me to learn even more about these two interesting Land artists. Each part of the episode focuses on each artist in particular - the conversation was so good I didn't want to cut anything out so it's a bumper 2 part episode this week for you all! Part 1 Liuka and I discuss: - Walter De Maria Earth Room, Munich, and New York additions - Walter De Maria Mile Long Drawing Part 2 Liuka and I discuss: - Michael Heizer Double Negative - Michael Heizer Munich Depression and its digital execution in the Whitney Museum of Art Real Size Munich Rotary. Thank you so much to Liuka for a brilliant and insightful conversation! Guest: Liuka Jonynaite Host: Jo McLaughlin

Episode 39   Bonus Tracks from the Archives   Playlist Steve Birchall, “Summer Memories” from Reality Gates (1973 Poseidon Electronic Music Studio). Self-produced and distributed. EMS VCS-3, Eventide Clockworks Instant Phaser, EMT Reverb, Cooper Time Cube delay, Steve Birchall. 10:37. Not used in episode 38, Before “New Age” Music. Paul Bley, “Improvisie” from Improvisie, 1971. ARP 2500 synthesizer and RMI electric piano, Paul Bley; Voice, Piano, Electric Piano, Annette Peacock; Percussion, Han Bennink. 13:52. Not used in episode 15, Electronic Jazz, Part 3: Early Synthesizer Jazz. John Cage, David Tudor, “Duet For Cymbal” from John Cage, David Tudor, Christian Wolff ‎– San Francisco Museum Of Art, January 16th, 1965. Historic concert of live electronic music recorded by KPFA Radio.at San Francisco Museum of Art. "Duet for cymbal" was performed on a single cymbal with contact microphones agitated by a wide gamut of objects. 9:34. Not used in episode 12, David Tudor: From piano to electronics. Walter De Maria, “Ocean Music,” 1968, privately released. 20:30. Not used in episode 13, Electronic Jazz, Part 1: Before the Synthesizer. Toshiro Mayuzumi, “Mandara” for electronic sounds and voices (1969, Philips). 10:21. Not used in episode 16, Vintage Electronic Music from Japan, Part 1. Jacqueline Nova, “Creación De La Tierra” from Bertola / Nova / Orellana–Tres Composiciones Electroacusticas (1976 Tacuabé). Tape composition, Jacqueline Nova. Creación de la tierra (composed 1972) realized in the Studio of fonologia de la Universidad nacionál de Buenos Aires. 18:22. Not used in episode 5, Seeing and Touching Sound—Music for Magnetic Tape. Eliane Radigue, “Triptych 1” from Triptych (1978 Important RE). ARP 2500 Synthesizer, Eliane Radigue. Recorded in the composer's studio in Paris. Commissioned by Douglas Dunn for choreography. Only this part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27, 1978. 17:33. Not used in episode 5, Seeing and Touching Sound—Music for Magnetic Tape. Miki Yui, “Whisper” from the album Small Sounds (1999 BMB). Electronics, Miki Yui. “Small sounds are to merge and fuse with your acoustic environment - please play in a transparent level; in different atmosphere.” Composed and recorded in Cologne, Germany. 3:12. Not used in episode 5, Seeing and Touching Sound—Music for Magnetic Tape. Madelyn Byrne, “Winter” from Lesbian American Composers (CRI 1998). Electro-acoustic composition by Madelyn Byrne. 7:37. Not used in episode 5, Seeing and Touching Sound—Music for Magnetic Tape. Barney Wilen, “Auto Jazz: The Tragic Destiny of Lorenzo Bandini,” part 1, 1968. 5:37. Not used in episode 13, Electronic Jazz, Part 1: Before the Synthesizer. Bass, Beb Guérin; Drums,Eddy Gaumont; Piano, François Tusques; Saxophone, Barney Wilen. Soundtrack of race cars recorded at the Grand Prix de Monaco, May 7, 1967 by Barney Wilen. Opening music: Ian Boddy, “Vox Lumina” from Aurora (2002 DiN). Composed, produced, played by Ian Boddy using: Software Instruments (Logic, Metasynth, Pluggo, Absynth, Reaktor, EVP88), Analogue synthesizers (VCS3, Roland 100M, Doepfer A100, Analogue Solutions, Analogue Systems), Sounds (Radio), Digital synthesizers (Roland JD990, Roland D550, Roland JP8000), Akai S6000 Digital Sampler. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes.  

Quando all'arte contemporanea non bastano più le installazioni o le fotografie, il corpo diventa l'ultima frontiera. Dalle performance sadomaso degli azionisti viennesi alla brutale manicure di Valie Export, dalle favolose trasformazioni di Leigh Bowery allo stunt-man esistenziale Chris Burden, dall'arte antipatriarcale di Ana Mendieta a quella facilona di Frida Kahlo: nella body art, buon sangue non mente.Costantino, l'Henry Kissinger della Maremma, spiega il concetto di “stato climatico interiore” (che non ha capito neanche lui), mentre Francesco racconta la riscoperta di un antico piacere all'indomani di un miracoloso intervento alla prostata. E, nel finale, una corposa rivelazione per tutti i fan di ArteFatti.In questa puntata si parla di Umberto Galimberti, Günther Brus, Otto Muehl, Rudolf Schwarzkogler, Hermann Nitsch, Egon Schiele, Gustav Klimt, Chuck Close, Adolf Loos, Sifgmund Freud, Ludwig Wittgenstein, Banksy, Henry Kissinger, Gerry Scotti, Carmelo Bene, Dario Cecchini, Justice Yeldham, Valie Export, Gina Pane, Marina Abramović, Slobodan Milošević, Carolee Schneemann, Robert Morris, Claes Oldenburg, Sabina Ciuffini, Mike Bongiorno, Donald Judd, Walter De Maria, Paula Cooper, Holly Solomon, Marian Goodman, Yoda, Midnight Cowboy, Madame Claude, Ana Mendieta, Fidel Castro, Sara Ann Otten, Carl Andre, O.J. Simpson, Frida Kahlo, David Alfaro Siqueros, Leon Trotsky, Leigh Bowery, Alberto Angela, Colonnello Bernacca, Damien Hirst, Alexander McQueen, Anthony d'Offay, Paolina Borghese, Nicola Bateman, Lucian Freud, Chris Burden e Tino Sehgal.

On this week's podcast: the artist-activists at the heart of Russia’s biggest protests in a decade and how the Indian government is using heritage and museums to re-write the history of the country. We talk to Lölja Nordic, an artist, DJ and activist in Saint Petersburg, who appeared in a video released this week by Pussy Riot, Russia’s most famous cultural activists, in support of "political prisoners" arrested in the protests across Russia. And we talk to the academic Sarover Zaidi about the Indian government's approach to the country's heritage. In this episode’s Work of the Week, the artist Navid Nuur talks about Walter De Maria’s New York Earth Room (1977). See acast.com/privacy for privacy and opt-out information.

Episode 13 Electronic Jazz, Part 1: Before the Synthesizer Playlist: André Hodeir: “Jazz et Jazz” (1960) Terry Riley and Chet Baker, “Music for The Gift,” part 1 (1963). Walter De Maria, “Cricket Music,” 1964, privately released (excerpt). Bob James, “Untitled Tracks” from Explosions, 1965. Rahsaan Roland Kirk, “Slippery, Hippery, Flippery,” from Rip, Rig, and Panic 1965. Bernard Parmegiani, “JazzEx,” 1966. Roger Kellaway, “Spirit Feel,” from the album Spirit Feel, 1967. Frank Zappa, from the album Lumpy Gravy, about nine minutes into side 1, 1968. Barney Wilen, “Auto Jazz: The Tragic Destiny of Lorenzo Bandini,” part 2, 1968. The Archive Mix includes two additional tracks played at the same time to see what happens. These two additional tracks are additional examples of electronic jazz with tape: Walter De Maria, Ocean Music, privately released, 1968 (excerpt). Barney Wilen, Auto Jazz, part 1, 1968. Read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020). Read this important paper by George Lewis on improvisation and jazz origins: George E. Lewis, “Improvised Music after 1950: Afrological and Eurological Perspectives,” Black Music Research Journal 16, no. 1 (1996): 93.  

Glória Ferreira nasceu no Rio de Janeiro, Rio de Janeiro, Brasil, em 1947. Doutora em História da Arte pela Sorbonne, na França, em 1996. Professora colaboradora da Escola de Belas-Artes da UFRJ, crítica e curadora independente. Foi a responsável pela curadoria de artes visuais da Casa de Cultura Laura Alvim, no Rio de Janeiro, entre 2013 e 2014 e, durante a sua trajetória, organizou diversas exposições, editou livros e coleções de publicações. [Glória Ferreira was born in Rio de Janeiro, Rio de Janeiro, Brazil, in 1947. She finished her PhD in Art History at the Sorbonnne University, from France, in 1996. Colaborator professor at the Fine Arts School of the Federal University of Rio de Janeiro. She's also an art critic and independent curator. She was the responsible for the visual arts program of the Casa de Cultura Laura Alvim, in Rio de Janeiro, between 2013 and 2014. During her career, she organized many exhibitions, edited books and series of publications] ///imagem selecionada|selected image: Walter De Maria, "Arte pelo telefone" ("Art by the telephone"), 1969/// [entrevista realizada em 27 de agosto|interview recorded on august 27th] [link para YouTube: https://www.youtube.com/watch?v=zZGqwGCNogI]

Julie Brister Sits down for a portrait and talks to Matt about the New York Art scene in the 90s, what makes improv so special, and also tells Matt about large scale art installation 'The Earth Room'

Everywhere, all the time, it seems like we’re being sold on the idea that getting rid of things will solve our problems—from the life-changing magic of Marie Kondo to the streamlining of all those DVDs into digital subscriptions—and it’s all being sold under the label of minimalism. In his new book, The Longing for Less, Kyle Chayka criticizes this trend as a kind of upscale austerity designed to get you to buy and consume things. Maybe fewer things, but things nonetheless. Have we lost the true meaning of minimalism? Chayka takes readers through a history of art, design, and philosophy that goes much further back than the 1960s work of Agnes Martin, Donald Judd, and John Cage, to show that maybe the most meaningful part of “minimalism” is the search for meaning. Chayka has written for The New York Times Magazine, n+1, and The Paris Review, and he joins us in the studio to offer up a brand of minimalism that won’t bankrupt you, emotionally or financially.Go beyond the episode:Kyle Chayka’s The Longing for Less: Living with MinimalismWatch a short documentary about the painter Agnes Martin from the TateView Donald Judd's massive installations in Marfa or New York, and be sure to stop by Walter De Maria’s The Earth Room while you're at itPoke around Philip Johnson’s Glass HouseListen to Julius Eastman's hypnotic composition “Stay on It” (and read more about him here)Two Japanese touchstones of minimalism: Sei Shōnagon’s The Pillow Book and Junichirō Tanizaki’s In Praise of ShadowsTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play • AcastHave suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate... See acast.com/privacy for privacy and opt-out information.

Everywhere, all the time, it seems like we’re being sold on the idea that getting rid of things will solve our problems—from the life-changing magic of Marie Kondo to the streamlining of all those DVDs into digital subscriptions—and it’s all being sold under the label of minimalism. In his new book, The Longing for Less, Kyle Chayka criticizes this trend as a kind of upscale austerity designed to get you to buy and consume things. Maybe fewer things, but things nonetheless. Have we lost the true meaning of minimalism? Chayka takes readers through a history of art, design, and philosophy that goes much further back than the 1960s work of Agnes Martin, Donald Judd, and John Cage, to show that maybe the most meaningful part of “minimalism” is the search for meaning. Chayka has written for The New York Times Magazine, n+1, and The Paris Review, and he joins us in the studio to offer up a brand of minimalism that won’t bankrupt you, emotionally or financially.Go beyond the episode:Kyle Chayka’s The Longing for Less: Living with MinimalismWatch a short documentary about the painter Agnes Martin from the TateView Donald Judd's massive installations in Marfa or New York, and be sure to stop by Walter De Maria’s The Earth Room while you're at itPoke around Philip Johnson’s Glass HouseListen to Julius Eastman's hypnotic composition “Stay on It” (and read more about him here)Two Japanese touchstones of minimalism: Sei Shōnagon’s The Pillow Book and Junichirō Tanizaki’s In Praise of ShadowsTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play • AcastHave suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate...  See acast.com/privacy for privacy and opt-out information.

Peachy Keen met with artist and writer Donna Mintz in the back room of her exhibition at Sandler Hudson Gallery in Atlanta during the recent blackberry winter to talk about her current body of work. We discussed her use of materials to express ideas on memory and place: kaolin gathered from Georgia’s fall line recalls an ancient sea, elementary school milk cartons become a practical casting container for gold reliquaries, samples of water taken from North Georgia rivers and streams mark childhood haunts, and found large format negatives capture the gravitas of memory—even if those memories are unknown to us. She gives us a detailed account of her 24 hours at a 1920s homesteaders’ cabin observing Walter De Maria’s masterwork, The Lightening Field, and explains how the concept of the sublime expressed in this work relates to her own art. This is a good episode for you visual folks to bulk up on your literary to-do list because in addition to James Agee (who is featured with De Maria in Mintz’ current book in progress) Mintz references the works of many literary giants including Vladimir Nabakov, Ezra Pound, James Dickey, Lillian Smith, and Joel Chandler Harris. Also discussed: lost-cause mythology, the impermanence of human life, and generational gender roles. Not all serious, we get a little silly with some chat about ASMR and maybe give you something to think about before you go whispering to the person next to you while an author is reading an emotional passage.

由英国艺术经纪杰伊·乔普林（Jay Jopling）1993年创立的白立方画廊（White Cube Gallery）最初设址于英国伦敦詹姆斯区公爵街（Duke Street, St James）44号二层。立于伦敦西区最传统的艺术交易街上，首家白立方画廊由享誉世界的极简主义建筑大师克劳迪欧·西尔伟斯特林（Claudio Silvestrin）操刀设计，尽管展览空间略显狭小，却也是欧洲最具影响力的商业画廊之一。最初的画廊理念是受艺术家沃尔特·德·玛丽亚(Walter De Maria)1977年纽约作品Earth Room影响，矢志为一位艺术家提供可展示单件重要作品或一系列作品的紧凑聚焦空间，并于创办之初规定一位艺术家只能展出一次从不重复。 画廊名称来源于爱尔兰艺术家和作家布莱恩·奥多尔蒂（Brian O'Doherty）1976年发布于《艺术论坛》上的文章“白立方体内：画廊空间的意识形态”（Inside the White Cube: Ideologies of the Gallery Space），作者奥多尔蒂是第一位明确面对战后艺术危机的评论人，并就经济、社会环境以及美学在艺术画廊争议空间中体现之间错综复杂的关系提出艺术家如何必须在画廊空间和体系中诠释个人作品的问题。他在文中还深入探讨了在将现代画廊空间设计为中立区域--白色立方体的背后，是将空间成就为艺术品的一部分并赋予展览空间深层之美的意图。奥多尔蒂也揭示了画廊空间的重要性不仅仅是白立方体还有历史的特殊构造，目的在于热切关注艺术。 自成立以来，白立方画廊也因为多位英国青年艺术家和国际艺术家举办展览而声名鹊起，其中包括弗朗茨·阿克曼(Franz Ackerman)，米罗斯拉夫·巴卡（Miroslaw Balka），查克·克洛斯（Chuck Close），翠西•艾敏(Tracey Emin)，卡塔琳娜·弗里奇（Katharina Fritsch），莫娜·哈透姆（Mona Hatoum），达米安·赫斯特(Damien Hirst)，加里·休姆(Gary Hume)，埃尔斯沃思·凯利（Ellsworth Kelly），朱莉·梅雷图（Julie Mehretu），多丽丝·萨尔塞多(Doris Salcedo)，杉本博司（Hiroshi Sugimoto），吕克·图伊曼斯(Luc Tuymans)和杰夫·沃尔（Jeff Wall）等等。 2000年4月，白立方画廊新址在伦敦东区霍斯顿广场建成，并成为该区域第二大画廊。由著名的MRJ 朗德尔联合工作室及画廊设计机构（MRJ Rundell & Associate）在原二十世纪二十年代轻工业建筑基础上改造而成，展览空间由此扩大到2000平方英尺。2002年白立方画廊公爵街原址正式关闭，2006年9月在距画廊原址不远的梅森苑（Mason's Yard）新白立方画廊开幕，在原有电力分站基础上，MRJ 朗德尔联合工作室及画廊设计机构打造了英国伦敦詹姆斯区过去三十年首栋独立建筑并且展示空间达5000平方英尺。位于伯蒙西（Bermondsey）的白立方画廊是伦敦三间画廊中最大的一家，由卡斯帕尔·穆勒·尼尔建筑事务所（Casper Mueller Kneer Architects）设计的画廊包括三个主要展厅、大型仓库、私人观览室、60人座演讲厅和书店。南画廊（South Gallery）主要承办白立方扩展计划中的重要展览，统称为北画廊（North Gallery）的三个小展场以新锐展览项目为主，配合新推出的Inside the White Cube项目，展出未曾在画廊举办过展览的艺术家作品，为业界提供了国际当代艺术交流发展的平台。此外在建筑中心，还设有名为“9×9×9”占地约81平方米的展厅。为推介艺术教育，白立方演讲厅也不定期地呈现教育项目，播放艺术家电影和举办讲座研讨对话。2012年3月2日，白立方画廊首家海外分馆落脚中国香港中环，并以世界著名艺术家Gilbert及George的一系列名为‘The London Pictures'的作品揭幕。

Ceci n'est pas une podcast! This week Kyle, Matthew and Natalie sit down with comedian Kevin Macias to talk about Art History, as they discuss their favorite time periods and artists through the ages. Natalie likes cave paintings and ancient art, Kevin and Kyle share their mutual love of fascist artwork, and Matthew phones a friend (Laura) to learn why Greek/Roman nudes weren't "packing heat." They also talk graffiti, performance art and give a lot of great recommendations for contemporary artists you should totally check out!  Weekly Rads:  Our new website thisisradpodcast.com, The Limestone Comedy Festival and radsters in Bloomington, Indiana; Teen Witch Fan Club, David Cook aka Bonethrower, Octopus Pie by Meredith Gran, Bernie Wrightson's The Amazing Spider-Man Hooky, Slowdive, Day of the Dead Raddendums: Nat Geo WILD, Cave of Forgotten Dreams, Picasso, Rothko, Mondrian, Yves Klein, Keith Haring, Robert Arneson, Cindy Sherman, Pecker, De Chirico, Neo Rauch, Cake/Cake 87, The Artist Is Present, Narcissister, Basic Instinct, Frida Kahlo, Destino, Basquiat, Blank City, Yue Minjun, Bosch, Goya, Koontz, Ed Ruscha, Damien Hirst, Richard Serra, Walter De Maria, James Turrell, Oskar Kokoschka, Geoff McFetridge, Pettibone, Patrick Martinez, Banksy

由英国艺术经纪杰伊·乔普林（Jay Jopling）1993年创立的白立方画廊（White Cube Gallery）最初设址于英国伦敦詹姆斯区公爵街（Duke Street, St James）44号二层。立于伦敦西区最传统的艺术交易街上，首家白立方画廊由享誉世界的极简主义建筑大师克劳迪欧·西尔伟斯特林（Claudio Silvestrin）操刀设计，尽管展览空间略显狭小，却也是欧洲最具影响力的商业画廊之一。最初的画廊理念是受艺术家沃尔特·德·玛丽亚(Walter De Maria)1977年纽约作品Earth Room影响，矢志为一位艺术家提供可展示单件重要作品或一系列作品的紧凑聚焦空间，并于创办之初规定一位艺术家只能展出一次从不重复。 画廊名称来源于爱尔兰艺术家和作家布莱恩·奥多尔蒂（Brian O'Doherty）1976年发布于《艺术论坛》上的文章“白立方体内：画廊空间的意识形态”（Inside the White Cube: Ideologies of the Gallery Space），作者奥多尔蒂是第一位明确面对战后艺术危机的评论人，并就经济、社会环境以及美学在艺术画廊争议空间中体现之间错综复杂的关系提出艺术家如何必须在画廊空间和体系中诠释个人作品的问题。他在文中还深入探讨了在将现代画廊空间设计为中立区域--白色立方体的背后，是将空间成就为艺术品的一部分并赋予展览空间深层之美的意图。奥多尔蒂也揭示了画廊空间的重要性不仅仅是白立方体还有历史的特殊构造，目的在于热切关注艺术。 自成立以来，白立方画廊也因为多位英国青年艺术家和国际艺术家举办展览而声名鹊起，其中包括弗朗茨·阿克曼(Franz Ackerman)，米罗斯拉夫·巴卡（Miroslaw Balka），查克·克洛斯（Chuck Close），翠西•艾敏(Tracey Emin)，卡塔琳娜·弗里奇（Katharina Fritsch），莫娜·哈透姆（Mona Hatoum），达米安·赫斯特(Damien Hirst)，加里·休姆(Gary Hume)，埃尔斯沃思·凯利（Ellsworth Kelly），朱莉·梅雷图（Julie Mehretu），多丽丝·萨尔塞多(Doris Salcedo)，杉本博司（Hiroshi Sugimoto），吕克·图伊曼斯(Luc Tuymans)和杰夫·沃尔（Jeff Wall）等等。 2000年4月，白立方画廊新址在伦敦东区霍斯顿广场建成，并成为该区域第二大画廊。由著名的MRJ 朗德尔联合工作室及画廊设计机构（MRJ Rundell & Associate）在原二十世纪二十年代轻工业建筑基础上改造而成，展览空间由此扩大到2000平方英尺。2002年白立方画廊公爵街原址正式关闭，2006年9月在距画廊原址不远的梅森苑（Mason's Yard）新白立方画廊开幕，在原有电力分站基础上，MRJ 朗德尔联合工作室及画廊设计机构打造了英国伦敦詹姆斯区过去三十年首栋独立建筑并且展示空间达5000平方英尺。位于伯蒙西（Bermondsey）的白立方画廊是伦敦三间画廊中最大的一家，由卡斯帕尔·穆勒·尼尔建筑事务所（Casper Mueller Kneer Architects）设计的画廊包括三个主要展厅、大型仓库、私人观览室、60人座演讲厅和书店。南画廊（South Gallery）主要承办白立方扩展计划中的重要展览，统称为北画廊（North Gallery）的三个小展场以新锐展览项目为主，配合新推出的Inside the White Cube项目，展出未曾在画廊举办过展览的艺术家作品，为业界提供了国际当代艺术交流发展的平台。此外在建筑中心，还设有名为“9×9×9”占地约81平方米的展厅。为推介艺术教育，白立方演讲厅也不定期地呈现教育项目，播放艺术家电影和举办讲座研讨对话。2012年3月2日，白立方画廊首家海外分馆落脚中国香港中环，并以世界著名艺术家Gilbert及George的一系列名为‘The London Pictures'的作品揭幕。

Wilko Johnson, the former Dr Feelgood guitarist and songwriter, was diagnosed with terminal cancer in 2013. In his new book, Don't You Leave Me Here: My Life, he takes stock of his life following an 11-hour, life-saving operation and looks forward to a future he wasn't expecting. Wilko Johnson discusses his extraordinary and unexpected change of fortune.Kenneth Branagh's latest play in his year-long season at the Garrick Theatre is Romeo and Juliet. Lily James and Richard Madden star as the eponymous lovers, with Derek Jacobi as Mercutio and Meera Syal as the Nurse. Susannah Clapp reviews.The late American artist Walter De Maria is best known for his large-scale works, including The Lightning Field, a grid of 400 stainless steel poles in the New Mexico desert, and The Vertical Earth Kilometer, a brass rod that extends 1 kilometre into the ground in the German city of Kassel. John Wilson talks to De Maria's assistant and former studio manager Elizabeth Childress and curator Kara Vander Weg about the artist's first solo exhibition in the UK.Presenter: John Wilson Producer: Rachel Simpson.

It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices

It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices

It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices

It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices

It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition. Learn more about your ad choices. Visit megaphone.fm/adchoices

With John Wilson. Ryan Gosling and Danish director Nicolas Winding Refn (Drive, Pusher) team up again for the crime thriller Only God Forgives. Set in the Bangkok underworld, the film has divided critics with its use of violence and an unconventional narrative structure, and even Gosling has admitted the film could alienate audiences. Crime writer Dreda Say Mitchell gives her verdict. Violinist Nicola Benedetti nominates a favourite concerto for Cultural Exchange, in which leading creative minds share an artistic passion. Sculptor Antony Gormley pays tribute to fellow artist Walter De Maria, who has died at the age of 77. Walter De Maria's most renowned work is The Lightning Field, in which he placed 400 stainless steel poles in a vast grid in a remote area of New Mexico. Antony Gormley share his memories of De Maria, who became a reclusive figure, and was rarely photographed or interviewed - although he performed as a musician alongside Lou Reed and John Cale in New York in the 1960s. A new exhibition Mass Observation: This is Your Photo offers an examination of the role of photography in the Mass Observation Archive. Mass Observation was founded in 1937 as a radical experiment in social science, art and documentary to create a kaleidoscopic view of 'ordinary life'. Iain Sinclair responds to the exhibition at the Photographers Gallery in London.

Programme de CHRISTOPHE CHARLES pour webSYNradio : Sculptures musicales avec des oeuvres et des pièces de Harry Bertoia, John Cage, Christophe Charles, Henning Christiensen, COIL, Olivier Coupille, Walter De Maria, Marcel Duchamp, David Dunn, Max Eastley, Gerhard Eckel, Mark Fell, Bill Fontana, I8u, Inada Kozo, Joe Jones, Rolf Julius, Yves Klein, Thomas Koener, Takeshisa Kosugi, Jaki Liebezeit, Alvin Lucier, Yann Novak, Yui Onodera, Paul Panhusen, Pimmon,red Maher, Eliane Radigue, Philip Samartzis, Erik Satie, Shibuya Keiichiro & Takahashi Yuji, Tamaru, Horacio Vaggione, Stephen Vitiello, Chubby Wolf, La Monte Young.