Podcasts about White Columns

Artist Pam Glick is the quintessential gritty New York artist. Born in Albany and raised partly on an aristocrat's estate in England, she spent her rebellious teen years smoking pot and hitchhiking in search of Woody Guthrie while her glamorous laissez-faire parents imbued her with the confidence and optimism that has seen her through the many chapters in her extraordinary life, including living and working in New York - where she would hang out in cafes chatting to the likes of Quentin Crisp, and where she had a basement studio next to Richard Prince - to raising kids, divorce and surviving cancer. Through it all, she has never stopped creating. Known for her instinctive use of colour and emotionally resonant abstraction, Glick studied Painting at the Rhode Island School of Design, where she received the Florence Leif Award, and later earned her MFA from the University of Buffalo. Her work was widely shown throughout the 1980s and 1990s, with solo exhibitions in New York and Los Angeles. Her paintings have also featured in group exhibitions at Pat Hearn Gallery, the Drawing Center, and the Buffalo AKG Art Museum. More recently, she has held solo exhibitions at White Columns (2016) and The Journal Gallery, New York (2021). For this conversation, Danielle Radojcin met Pam at the Maruani Mercier gallery in Brussels, which is holding an exhibition of her work.   

Ep.229 Na Kim b.1986 Seoul, South Korea Na Kim lives and works in Brooklyn, New York. Known for her mimetic portraits set against polychromatic backgrounds, Na Kim's paintings depict figures but are conceptually abstract. Her imagined subjects, derivative yet unique, evoke both confrontational and intimate encounters. Kim's practice centers neither accuracy nor narrative, but rather reflects a deeply meditative character study. Solo exhibitions include Kim's debut solo presentation at White Columns, New York (2023) and forthcoming show at Nicola Vassell Gallery, New York (2025). Group exhibitions include The Selves, Nicola Vassell Gallery, New York (2024) and the White Columns Benefit Auction, New York (2023, 2024). Kim has shown work at a number of art fairs, including Art Basel Miami Beach, Miami (2024) and Independent Art Fair, New York (2024). In addition to her fine art practice, Kim currently works as the art director of The Paris Review and creative director of the publishing house Farrar, Straus and Giroux. Her designs have been named among The New York Times' best book covers of the year for the past nine consecutive years. Photo Na Kim: Courtesy of the artist Artist https://www.na-kim.com/ Nicola Vassell Gallery https://www.nicolavassell.com/artists/76-na-kim/ White Columns https://whitecolumns.org/exhibitions/na-kim/ Paris Review https://www.theparisreview.org/about/masthead | https://www.theparisreview.org/blog/2023/06/20/the-cups-came-in-a-rush-an-interview-with-margot-bergman/ One Club Organization https://www.oneclub.org/awards/adcawards/-judge/2739/na-kim The Creative Independent Na Kim – The Creative Independent Drakes https://us.drakes.com/blogs/news/in-the-studio-wth-na-kim?srsltid=AfmBOoqMsvMO6YmKGyt_fJCZkdzWGCsZjEYClN228sX4NQp4dpAGePXX I need a book cover https://ineedabookcover.com/designers/na-kim/ Print Magazine https://www.printmag.com/book-covers/best-book-cover-of-the-month-the-copenhagen-trilogy-designed-by-na-kim/ Coveteur https://coveteur.com/book-designer-interview-na-kim

Episode No. 679 features artist Hugh Hayden.  The Nasher Sculpture Center in Dallas is presenting "Hugh Hayden: Homecoming," an exhibition of new works informed by Hayden's upbringing in Dallas. The show includes sculptures that explore themes such as nostalgia, childhood, education, and religion. The exhibition was curated by Leigh Arnold and will be on view through January 5, 2025.  The Rose Art Museum at Brandeis University is presenting "Hugh Hayden: Home Work," a survey of the last decade of Hayden's work. The show includes a site-responsive installation conceived for the Rose. "Home Work" was curated by Gannit Ankori and Sarah Montross, and will be on view through June 1, 2025. Among the museums that have presented solo shows of Hayden's work are the deCordova Sculpture Park and Museum, Lincoln, Mass.; the Blaffer Art Museum, University of Houston; the Institute of Contemporary Art Miami, and White Columns, New York. His work is in the collection of museums such as the Metropolitan Museum of Art, New York, the Studio Museum in Harlem, the Whitney Museum of American Art, New York, and the Baltimore Museum of Art.  Instagram: Hugh Hayden, Tyler Green. 

Episode 442 / Elizabeth Englander (b.1988, Boston, MA) lives and works in New York, NY. She received her BFA from The Rhode Island School of Design in 2011 and her MFA from Hunter College in 2019. Recent solo exhibitions include: House of Gaga, Guadalajara (2023), Liste Art Fair Basel, solo presentation with Theta (2023); Theta, New York (2022); Smart Objects, Los Angeles (2021); From the Desk of Lucy Bull, Los Angeles (2019). Group exhibitions have been held at: White Columns, New York (2023); Lomex, New York, (2022); What Pipeline, Detroit (2022); Theta, New York (2021); Smart Objects, Los Angeles (2021); Night Gallery, Los Angeles (2021); Safe Gallery, Brooklyn (2019); and Muzeum Ikon, Warsaw, PL (2018). Elizabeth Englander: Eminem Buddhism, Vol. 3 at The Aldrich Contemporary Art Museum, Ridgefield, CT April 7 - October 20, 2024

Darkness Syndicate members get the ad-free version plus all of the artwork created for the YouTube and podcast thumbnails. Click here for the Darkness Syndicate version of this episode: https://weirddarkness.tiny.us/2p8twbxdIN THIS EPISODE: Sightings of advanced alien craft disappearing beneath the waves are as frequent as those in the skies. Are these submerged realms hiding the true secrets of alien life on Earth? (Extraterrestrials In The Abyss) *** In 1969, a strange man's disturbing "joke" about strangling a woman led to the unraveling of a horrific series of murders. Jerome "Jerry" Brudos, known as the "Shoe Fetish Killer," had been living a double life - family man by day, brutal serial killer by night. Somehow, his childhood obsession with women's shoes spiraled into a murderous rampage that shocked the public and ended only when a secret workshop revealed its grisly contents. (The Shoe Fetish Killer) *** In the heart of New Orleans' Garden District stands Buckner Mansion, a breathtaking testament to antebellum opulence and a magnet for ghost hunters and history buffs alike. Built to outshine its rivals, this Greek Revival masterpiece has witnessed over 150 years of triumphs, tragedies, and unexplained phenomena. From its days as a slaveholder's showpiece to its starring role in TV's "American Horror Story," Buckner Mansion continues to captivate visitors with its grandeur and the persistent whispers of its spectral inhabitants. (White Columns, Dark Secrets: The Buckner Mansion) *** In the 6th century AD, a terrifying sea monster known as Porphyrios emerged from the depths to wreak havoc on Byzantine ships, challenging even Emperor Justinian's mighty fleet. This legendary whale, whether sperm whale or orca, became the stuff of nightmares for sailors and the subject of heated debate among historians for centuries. (The Bosphorus Beast Porphyrios) *** The enigmatic Nazca lines have puzzled archaeologists and enthusiasts for decades, with some claiming they're ancient runways for extraterrestrial visitors or evidence of advanced human flight. But as we delve deeper into the mystery, we find that the truth may be far more grounded in human ingenuity and cultural symbolism than sci-fi fantasies. (Nazca's Alien Runways)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:000.000 = Title Story Tease00:02:06.633 = Show Open00:05:17.943 = Extraterrestrials In The Abyss00:22:24.782 = The Shoe Fetish Killer00:31:00.190 = White Columns, Dark Secrets: The Buckner Mansion00:39:46.844 = Nazca's Alien Runways00:45:25.267 = The Bosphorus Beast Porphyrios00:56:20.000 = Show CloseSOURCES AND REFERENCES FROM THE EPISODE…BOOK: “The Alien Jigsaw” by Katharina Wilson: https://amzn.to/3YzBFpOBOOK: “Connections: Solving Our Alien Abduction Mystery” by Anna Jamerson & Beth Collings: https://amzn.to/4cieTpJ“Extraterrestrials In The Abyss” source: Marcus Lowth, UFOInsight.com: https://weirddarkness.tiny.us/yc3hbv2u“The Shoe Fetish Killer” by Troy Taylor: https://weirddarkness.tiny.us/2p8vm6k7 (used with permission)“White Columns, Dark Secrets: The Buckner Mansion” source: Donna Sarkar, AllThatsInteresting.com:https://weirddarkness.tiny.us/yc43br4r“The Bosphorus Beast Porphyrios” source: Jorge Alvarez, La Brujula Verde (translated from Spanish):https://weirddarkness.tiny.us/yckwndt2“Nazca's Alien Runways” source: Caleb Strom, AncientOriginsUnleased.com: https://weirddarkness.tiny.us/2tfr8skpWeird Darkness theme by Alibi Music Library= = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =Originally aired: August 06, 2024CUSTOM LANDING PAGE: https://weirddarkness.com/extraterrestrialsintheabyss/

I'm Kate Brown, one of the hosts of The Art Angle, a podcast from Artnet News. We're sharing a special preview of Previously Unknown, a podcast from our friends at Independent New York.  Previously Unknown reframes and reevaluates what we think we know about contemporary art.  In this segment from the latest episode, Artnet News Pro Editor Andrew Russeth moderates a discussion with Independent art fair founder Elizabeth Dee, curatorial advisor Matthew Higgs and artist Joel Mesler. In 2019, Mesler performed an act of radical generosity by painting portraits of visitors at the fair, to benefit the not for profit gallery White Columns. Mesler will return to Independent this year, to restage the memorable presentation with a series of new portraits made on-site, in honor of the 15th anniversary of the art fair.  Tune in to Previously Unknown on your favorite podcast platform. 

We're sharing a special preview of Previously Unknown, a podcast from our friends at Independent New York.  Previously Unknown reframes and reevaluates what we think we know about contemporary art.  In this segment from the latest episode, Artnet News Pro Editor Andrew Russeth moderates a discussion with Independent art fair founder Elizabeth Dee, curatorial advisor Matthew Higgs and artist Joel Mesler. In 2019, Mesler performed an act of radical generosity by painting portraits of visitors at the fair, to benefit the not for profit gallery White Columns. Mesler will return to Independent this year, to restage the memorable presentation with a series of new portraits made on-site, in honor of the 15th anniversary of the art fair.  Tune in to Previously Unknown on your favorite podcast platform. 

Ep.190 Uman's dazzling visual vocabulary reflects her life and expansive cross-cultural experiences. Born in Somalia and raised in Kenya, she migrated to Denmark as a teenager and later to New York NY as a young adult. Now, with a home and studio in Upstate New York, Uman paints richly-hued worlds replete with gesture, geometry and the sublime. An intuitive artist, her influences abound from memories of East African childhood, a rigorous education in traditional calligraphy and a fascination with kaleidoscopic color and design. With nods to self-portraiture and fictional topographies, Uman's paintings speak fluently of liminal navigation. Her work contemplates both the physical and spiritual, intertwining abstraction, figuration, meditative patterning and a reverence for the natural world. Uman has had solo exhibitions at Hauser & Wirth, London, England; Nicola Vassell, New York NY; Eleni Koroneou Gallery, Athens, Greece; Fierman, New York NY; Anne De Villepoix, Paris, France; and White Columns, New York NY. She has been featured in group exhibitions at the Aga Khan Museum, Toronto, Canada; For-Site Foundation at Fort Mason Chapel, San Francisco CA; Institute of Contemporary Arts, London, UK; Karma, New York NY; and Ramiken Crucible, New York NY. In 2022, she was the recipient of the inaugural grant for The Cube at TRIADIC's FORMAT Festival in Bentonville AR. Headshot Copyright: Uman. Courtesy of the artist, Hauser & Wirth and Nicola Vassell Gallery Photo credit: Luigi Cazzaniga Nicola Vassell Gallery https://www.cnn.com/2024/02/18/style/uman-artist-hauser-wirth/index.html#:~:text=In%20December%202023%2C%20Uman's%20work,the%20spirit%20of%20the%20show. Hauser & Wirth https://www.hauserwirth.com/news/welcoming-uman-to-hauser-wirth-in-partnership-with-nicola-vassell/ https://www.hauserwirth.com/hauser-wirth-exhibitions/uman-darling-sweetie-sweetie-darling/ CNN https://www.cnn.com/2024/02/18/style/uman-artist-hauser-wirth/index.html#:~:text=In%20December%202023%2C%20Uman's%20work,the%20spirit%20of%20the%20show. Artnet https://news.artnet.com/art-world/umans-painting-hauser-wirth-2426374 Brooklyn Rail https://brooklynrail.org/2023/05/art/Uman-with-Chris-Martin Elephant Magazine https://elephant.art/umans-studio-in-the-hudson-valley-is-a-portal-to-a-kaleidoscopic-world/ Artforum https://www.artforum.com/events/uman-250558/ ArtNews https://www.artnews.com/art-news/artists/uman-artist-profile-best-practices-1234685155/ The New Yorker https://www.newyorker.com/goings-on-about-town/art/uman Culturetype https://www.culturetype.com/2023/12/06/nicola-vassell-and-hauser-wirth-galleries-announce-partnership-and-co-representation-of-artist-uman/#:~:text=On%20view%20at%20Nicola%20Vassell,made%20in%202022%20and%202023. Dream Idea Machine https://www.dreamideamachine.com/?p=94536 Art Plugged https://artplugged.co.uk/hauser-wirth-teams-up-with-nicola-vassell-gallery-to-represent-artist-uman/ Meer https://www.meer.com/en/74374-uman-i-want-everything-now Lavocedi https://lavocedinewyork.com/en/new-york/2023/05/09/uman-i-want-everything-now-exhibit-at-nicola-vassell-gallery/ Art Rabbit https://www.artrabbit.com/events/uman-darling-sweetie-sweetie-darling Whitewall https://whitewall.art/art/mark-bradford-senga-nengudi-uman-and-more-must-see-shows-in-new-york/ Cultured Magazine https://www.culturedmag.com/article/2023/05/01/fred-eversley-sarah-morris-uman Fad Magazine https://fadmagazine.com/2024/01/30/uman-darling-sweetie-sweetie-darling/ What We Adore https://www.whatweadore.com/uman-darling-sweetie-sweetie-darling/

Tune into the new season of Processa Talks (formerly known at AW CLASSROOM) with an interview with artist Piero Penizzotto, a Peruvian-American artist born and based in Queens, NY. Penizzotto's practice consists of creating life-size painted papier-mâché sculptures as an ode to the friendships and communities he is a part of in New York and South Florida. This recording is from an artist talk between Piero Penizzotto and curator and founder of Processa, Kiara Cristina Ventura, on October 14th 2023, at Penizzotto's solo exhibition at White Columns in NYC. In tandem with themes within this exhibition, Penizzotto and Ventura discuss themes of home, belonging, migration, and honoring family history.  You can also watch the video of this interview on White Column's Youtube: https://www.youtube.com/watch?v=1q0TLanPM4I For more info about Processa, visit processa.art . --- Support this podcast: https://podcasters.spotify.com/pod/show/processa/support

Recorded in February 2023, Keli Maksud talks to Esteban Jefferson about his exhibition, MAY 25th, 2020, at 303 Gallery. A second iteration of the show will open at Goldsmiths CCA in October 2023. Esteban Jefferson's practice centers around issues of race, identity and the legacies of colonialism. Using photography, drawing, painting, and sound installation as forms of documentation, Jefferson paints the focal points of his compositions in great detail, creating a stark contrast between the subject or object in focus and the surrounding environment. The paintings are left intentionally unfinished, creating a raw style emblematic of his investigative process.  Well known for his series, “Petit Palais”, first featured at White Columns, New York, in 2019, Jefferson's latest works consider the related symbolism of flags and toppling of equestrian monuments in New York, through the lens of racial and colonial legacies. Esteban Jefferson was born in New York City in 1989, and attended Columbia University. Recent group exhibitions include Art on the Grid, Public Art Fund, New York (2020); ESTAMOS BIEN: La Trienal, El Museo del Barrio, New York (2021) and Open Call, The Shed, New York (2021). Jefferson lives and works in New York City.  

Kristen Sanders (b. 1989, California) lives and works in St. Paul, MN. She received a BA from the University of California Davis, and an MFA from Virginia Commonwealth University. Solo and two person exhibitions include Dreamsong, Minneapolis, MN, St. Cloud State University, St Cloud, MN, Kathryn Brennan Gallery, New York, NY, Step Sister, New York, NY, Sadie Halie Projects, Minneapolis, MN, and Sediment Arts, Richmond, VA. Group exhibitions include Good Mother, Los Angeles, Night Club, Minneapolis, MN, Hair & Nails, Minneapolis, MN, O'Flaherty's, New York, NY, Monti 8, Latina, Italy, Moosey Art, London, UK, Mana Contemporary, Jersey City, NJ, The Quarter Gallery, University of Minnesota, Minneapolis, MN, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN, Left Field, Los Osos, CA, H.G. Inn, Chicago, IL, White Columns, New York, NY, and Patrick Parrish Gallery, NY. Residencies include The Maple Terrace, Brooklyn, Lacuna Gallery, Minneapolis, David Wurtzel Travel Scholarship, Florence, Italy, and Vermont Studio Center, Johnson, VT. Sanders has received press in BOMB Magazine, ARTNews, and New American Paintings. She currently teaches at the University of Minnesota, Minneapolis. Morning Tide, 2023, Acrylic on canvas, 40 x 32 inches In the Negative Spaces, 2023, Acrylic on canvas, 50 x 40 inches Abyssal Plane, 2023, Acrylic on canvas, 27 x 20 inches

Raymond Saá in his studio Raymond Saá is a Cuban-American artist born in New Orleans and raised in Miami. He graduated from the New World School of the Arts in 1991, received his B.F.A. from the Maryland Institute College of Art in 1995, and studied at the Kunstakademie Dusseldorf in 1996. In 1997, he earned an M.F.A. from Parsons School of Design. Selected exhibitions include White Columns, the Islip Museum, Wave Hill, the Museum of Art Puerto Rico, and El Museo del Barrio. Saá received a 2019 Fellowship from the New Jersey State Council on the Arts, in addition to awards from Public Art for Public Schools, the Pollack Krasner Foundation, the Joan Mitchell Foundation, and New Jersey Fellowship in Art. The artist lives and works in New Jersey. The Blue Bird, 2023 Raymond Saá Morgan Lehman Gallery 'The Blue Bird' series, 2023 Size: 30 x 24 in Medium: gouache collage on sewn paper 'The Blue Bird' series, 2023 Size: 30 x 24 in Medium: gouache collage on sewn paper 'The Blue Bird' series, 2023 Size: 30 x 24 in Medium: gouache collage on sewn paper

Jennifer Paige Cohen lives and works in Brooklyn, NY. She has been the subject of solo and two-person exhibitions at The Pit, Los Angeles; The Saint-Gaudens Memorial, New Hampshire; Rachel Uffner Gallery, New York; Salon 94, New York; and White Columns, New York. Group exhibitions include Petzel Gallery, Regina Rex, PPOW, Creative Time, The Elizabeth Foundation, Casey Kaplan and Public Art Fund, all New York, NY; Aldrich Contemporary Art Museum, Ridgefield, CT; September Gallery, Hudson, NY; Kate MacGarry, London, UK; and Thaddeus Ropac, Salzburg, Austria, among numerous others. Jennifer holds an MFA in Sculpture from the Yale University School of Art. She has received grants and fellowships from Café Royal Cultural Foundation, Saint-Gaudens Memorial, Pollock-Krasner Foundation, MacDowell, The Corporation of Yaddo, The Marie Walsh Sharpe/Walentas Space Program, Civitella Ranieri and the Chinati Foundation.  Untitled (self-portrait), clothing scraps, plaster, plaster gauze, fabric collage, zipper, watercolor, 23”H x 14”W x 16”D, 2022 Untitled, clothing scraps, plaster, plaster gauze, fabric collage, watercolor, 37 ½” x 14 ½” x 9”, 2022 Untitled, clothing scraps, plaster, plaster gauze, fabric collage, watercolor, 24 ½”H x 24”W x 23”D , 2022

Cynthia Daignault received a BA in Art and Art History from Stanford University. She has presented solo exhibitions and projects at many major museums and galleries, including the New Museum of Contemporary art, Metropolitan Museum of Art, the Crystal Bridges Museum of American Art, MASS MoCA, the Modern Art Museum of Fort Worth, the Brooklyn Museum of Art, and White Columns. Her work is in numerous public collections, including the Metropolitan Museum of Art, the Dallas Museum of Art, the Walker Art Center, and the Baltimore Museum of Art. Daignault is a regularly published author, and editor of numerous publications. The first major monograph on her work, Light Atlas, was published in 2019, and a new paperback edition will be released in early 2023. She is the recipient of numerous awards, including a 2019 Pollock-Krasner Foundation Grant, a 2016 Foundation for the Contemporary Arts Award, a 2011 Rema Hort Foundation Award, and a 2010 MacDowell Artist Fellowship. She lives and works in Baltimore, Maryland.

This is a rebroadcast of an episode of This Thing We Call Art, a podcast where the host Kelly Lloyd speaks to people in the arts about their livelihoods. Lloyd originally interviewed artist Gordon Hall on March 1, 2021 and the 43-minute episode featuring portions of the three-hour-long conversation was released on February 17, 2022. The podcast features a conversation about Hall and Lloyd's experiences in art education at the School of the Art Institute of Chicago, how art institutions handle interdisciplinarity, and the ethical responsibility of art school educators. Hall, currently an Assistant Professor of Sculpture at Vassar College, has included an addition to this rebroadcast to highlight how in the Spring of 2022, the contingent faculty at the School of the Art Institute of Chicago formed a union, Art Institute of Chicago Workers United, (AICWU) which is now certified with the National Labor Relations Board. The union is currently preparing to negotiate their first contract. You can follow their efforts and support them at aicwu.org and on social media at AIC_WU on Instagram, AICWUTweets on Twitter, and AIC Workers on Facebook. Kelly Lloyd is a transdisciplinary artist who focuses on issues of representation and knowledge production and prioritizes public-facing collaborative research. Lloyd has recently held solo exhibitions at the Royal Academy Schools (London), Crybaby (Berlin), Bill's Auto (Chicago), Demo Room (Aarhus), and Dirty House (London) for which she won the Art Licks Workweek Prize. Lloyd was the Starr Fellow at the Royal Academy Schools during the 2018/19 school year and is currently studying at The University of Oxford's Ruskin School of Art and Wadham College for her DPhil in Practice-Led Fine Art with support from an All Souls-AHRC Graduate Scholarship and an Open-Oxford-Cambridge Doctoral Training Programme Studentship. In 2021, Lloyd launched This Thing We Call Art, a podcast and online archive featuring excerpts from 50+ interviews with people in the arts she has conducted since 2017. Gordon Hall is an artist based in New York who makes sculptures and performances. Hall has had solo presentations at the MIT List Visual Arts Center, The Portland Institute for Contemporary Art, The Renaissance Society, EMPAC, and Temple Contemporary, and has been in group exhibitions at The Whitney Museum of American Art, The Brooklyn Museum, The Hessel Museum, Art in General, White Columns, Socrates Sculpture Park, among many other venues. Hall's writing and interviews have been published widely, including in Art Journal, Artforum, Art in America, and Bomb, as well as in Walker Art Center's Artist Op-Ed Series, What About Power? Inquiries Into Contemporary Sculpture (published by SculptureCenter), and Documents of Contemporary Art: Queer (published by Whitechapel and MIT Press.) A volume of Hall's collected essays, interviews, and performance scripts was published by Portland Institute for Contemporary Art in 2019. Hall is Assistant Professor of Sculpture at Vassar College.

Portrait by Zach Baker Jessi Reaves (b.1986, Portland, Oregon) earned her BFA from Rhode Island School of Design, Providence, RI in 2009. Her practice centers on sculptures that also operate as furniture, rupturing traditional binaries of the functional and the aesthetic. In 2021, Reaves work was featured in two iterations of the two person exhibition Wild Life: Elizabeth Murray & Jessi Reaves at the Contemporary Arts Museum Houston, Texas and The Carnegie Museum of Art in Pittsburgh, Philadelphia. Reaves' solo exhibitions include At the well, Bridget Donahue, New York, NY (2022), Going out in Style, Herald St, London, United Kingdom (2019); Jessi Reaves II, Bridget Donahue, New York, NY (2019); Kitchen Arrangement within The Domestic Plane: New Perspectives on Tabletop Art Objects, The Aldrich Contemporary Art Museum, Ridgefield, CT (2018); android stroll, Herald St, London, United Kingdom (2017); Jessi Reaves, Bridget Donahue, New York, NY (2016); Now Showing: Jessi Reaves, Sculpture Center, Long Island City, NY (2016). Recent group exhibitions include Slant Step Forward, Verge Center for the Arts, Sacramento (2019); Carnegie International, 57th Edition, Carnegie Museum, Pittsburgh, PA (2018); Ginny Casey and Jessi Reaves, Institute of Contemporary Art Philadelphia (2017); Whitney Biennial 2017, Whitney Museum of American Art, New York, NY (2017); Looking Back/ The 11th White Columns Annual, White Columns, NY (2017) among others. She has a forthcoming solo exhibition at The Arts Club of Chicago in 2023. Jessi Reaves — Installation View, “At the Well”, September - November 2022, Bridget Donahue, NYC Photo by Gregory Carideo Jessi Reaves, A sample of the truth, 2022, Wood, metal, cord, sawdust, wood glue, paper, enamel paint, 44 ½ × 42 × 45 in. (113.03 × 106.68 × 114.30 cm) Courtesy of the artist and Bridget Donahue, NYC Photo by Gregory Carideo Jessi Reaves Warming Rails Extended (Towel Rack), 2022, Metal, hardware, sawdust, wood glue, 58 ½ × 27 × 27 in. (148.59 × 68.58 × 68.58 cm) Courtesy of the artist and Bridget Donahue, NYC Photo by Gregory Carideo

Andrew Ross received his BFA from The Cooper Union in 2011, where he was awarded the Gelman Trust Award for Excellence in Sculpture. He attended Skowhegan School of Painting and Sculpture in 2011. He's been a resident and/or fellow of programs including The Triangle Arts Association, The Drawing Center's Open Sessions, LMCC's Swing Space, The Macedonia Institute, The Bruce High Quality Foundation, and he is a current awardee of Two Trees' Cultural Space Subsidy Program. Ross has exhibited in group exhibitions at The Hessel Museum, The Drawing Center, The Studio Museum in Harlem, Artists Space, Center for the Humanities at CUNY, White Columns, and Greene Naftali. He has staged solo exhibitions at Signal (Brooklyn, NY), American Medium (NY, NY), Clima Gallery (Milan, Italy), and False Flag (Long Island City, NY). Ross' work has been reviewed in Artforum, Art in America, Cultured, Flash Art, Mousse, and the Brooklyn Rail. Ross is a sculptor and new media artist who creates fragmentary constructions with figurative elements and everyday objects. With attention to metaphoric associations that his imagery elicits Ross' tableau scenes oscillate between speculative fiction and cartoonish satire. His figures are chimeric and mythical in appearance yet typically occupied with some form of work and juxtaposed with commonplace detritus. Joining traditional sculpture, assemblage and digital imaging, Ross's works capture existential issues regarding the conundrum of representation in our age of many avatars.

Peter Gallo Portrait by Shani Stoddard The work of artist Peter Gallo oscillates freely between painting, drawing, collage, and sculpture. Filled with literary, art-­historical, cultural, political, and musical references and detours, Gallo's works, when installed together, create poetic, albeit labyrinthine, mise-­en-­scènes. The critic James Yood identified in Gallo: "an apparent disdain for materials; an alert scavenger's attitude toward culture; an eye for the poignant frailties of the vernacular; and an occasionally breathtaking ability to evoke issues of great import. His work is, inevitably, a mixed bag, because he treats the world and his mind as jumbled compendiums, filled with little connections and bursts of revelation that his seemingly slight but actually pointed interventions reveal. It amounts to a kind of grunge arte povera, a witty and instinctive immersion in the stuff of the world that is alternately lax and labored, spottily profound. A partial inventory of Gallo's materials would include dental floss, toothpicks, a towel, string, wire, French vermilion oil paint, buttons, toilet paper, spackle, bric-­a-­brac, a bedsheet, picture frames, amateur sculptures, and patterned fabrics. These are usually mixed with snippets of found text or references to figures of cultural authority, either scrawled onto surfaces, collaged, or laboriously constructed as sculptures that allude to the likes of Spengler, Nietzsche, Kant, Pasolini, and Mondrian. His output becomes a kind of pantheon of gravitas—or, in its use of vernacular text, antigravitas made vital by the intensity of Gallo's scribbles and his disinterest in pictorial nicety." – Artforum, February 2005. Gallo's deceptively quiet body of work combines images from sources as diverse as gay pornography and ornithology with words by Roland Barthes, Freud, and bands like Joy Division and The Cocteau Twins. He utilizes simple formal structures that emphasize the materiality of painting, and his works alternate between, or combine, abstract, figurative, and textual elements. Nautical imagery derived from historical sources such as the Ship of Fools and the Ship of State, stands as one of his signature subjects. Peter Gallo (b. 1959, Rutland, VT) lives and works in Hyde Park, VT. He received a BA from Middlebury College, and an MA and a PhD in Art History from Concordia University, Montreal. His work has been featured in solo exhibitions at the Douglas Hyde Gallery, Trinity College, Dublin; White Columns, New York; Horton Gallery (Sunday LES), New York; and Anthony Reynolds Gallery, London; among others. The gallery presented a solo booth of the artist's work at The Independent Brussels in 2018 and a two-person exhibition The Patients and The Doctors with David Byrd in 2015. The artist's work has been included in Artforum, the Village Voice, The New York Times, and Art in America, among others. Peter Gallo, My Modernism, 2018, Oil on bed ticking, 19 x 23 in, 48.3 x 58.4 cm, Courtesy of Sean Horton (Presents), New York, Photo: Matt Grubb Peter Gallo fiat ars pereat mundus, 2018—2019, Oil on cradled plywood 11 x 17 in 27.9 x 43.2 cm Courtesy of Sean Horton (Presents), New York Photo: Matt Grubb Peter Gallo, All Tomorrow's Crucifixions, 2021, Oil & collage on plywood cabinet doors, 72 x 48 in, 182.9 x 121.9 cm, Courtesy of Sean Horton (Presents), New York, Photo: Matt Grubb

Since the beginning of his artistic practice, Erik Lindman's incorporation of anonymous found surfaces as compositional elements in painting has occupied a central place in his work. Reinterpreting and repurposing cast-aside materials such as shards of steel or canvas webbing, he combines a variation of surfaces in a cascade of decisions with a focus on scale and negative space. Lindman lays down and builds up marks and gestures, ultimately articulating value and attention while asserting the materiality and tactile nature of each painterly composition. His topographical surfaces become the final result of what is buried beneath them, and upon closer inspection, layers of paint reveal further color and traces of discarded elements. As Lindman states, his practice and methods are the most efficient means he has discovered to create a space of reflection and contemplation for viewers to generate their own meanings. His practice with its inherent content and subject matter intends to add to the complex discourse of abstract painting for his own generation and time. Lindman pursues a new mediation of abstract traditions, both original and eclectic, while instilling subjective importance into his multifaceted process. Erik Lindman (b. 1985, New York) lives and works in New York. He earned his BA from Columbia College, Columbia University in 2007 and received a Yale Norfolk Painting Fellowship in 2006. Lindman was honored at the Hirshhorn Museum's Artist x Artist Gala in 2019. He has also received The Louis Sudler Prize for Excellence in the Arts from Columbia University in 2007, and has also received an Ellen B. Stoeckel Fellowship for Yale Norfolk School of Art in 2006. His work has been included in exhibitions at the Kunstalle in Freiburg, Switzerland, the Museum of Contemporary Art, Chicago, White Columns in New York, le 109 in Nice, France, Kaviar Factory in Henningsvær, Norway, and Foundation Hippocrène in Paris among others. Tamarack, 2021, acrylic and collaged cotton webbing and tarlatan on linen, 63 x 56 3/4 inches (160 x 144 cm) Dahlia, 2020, acrylic and collaged canvas webbing on linen, 78 3/4 x 59 1/8 inches (200 x 150 cm)

OH BABY! It's another fantastic episode of the ONLY ART PODCAST, brought to you exclusively by Will Shott Jewelry. Mills Morán and Benjamin are in Mexico City to install the exhibition Mr. Godsill curated, A Form of Magic at Morán Morán. As they wait (and wait and wait) for the artworks to clear out of customs they dial up Nate back in New York to catch-up. The three amigos discuss Benjamin's show (amazing, obvi) as well as: Gallery Dogs, the low-key best dish at Contramar, Urs Fischer's EPIC exhibition at Jumex, the fabulous restaurant Elly's and so much more. We then veer back to New York to discuss the White Columns benefit, the opening of new downtown sushi spot TIME and the cursed dim*s square hotel. Edited and uploaded from 30,000 feet (in front of the wing, of course), the first few minutes are not audiophile magic but it clears up quickly (and you aren't listening to us for the sound quality anyway). --- Support this podcast: https://anchor.fm/benjamin-godsill/support

Deborah Wasserman was born in Sao Paulo, Brazil, she grew up in Tel Aviv, Israel, and is currently living and working in NYC. Wasserman is a graduate of the California Institute of the Arts, the Whitney Museum Independent Study Program and the Skowhegan School of Painting and Sculpture.  She has exhibited in the USA at The Queens Museum Of The Arts, The Bronx Museum Of The Arts, White Columns, Pierogi 2000, Socrates Sculpture Park, and A.I.R gallery. Internationally, Wasserman has shown in Brazil, the Netherlands, Germany, and Israel.    Wasserman is a grant recipient of the Experimental Television Center, Aljira Center for the Arts, the A.I.M. Program at the Bronx Museum and the America-Israel cultural foundation. She received an IAP Social Practice fellowship from NYFA in 2017, a grant from the Puffin Foundation in 2018, a grant from the Citizens committee for New York in 2019, and a Queens Council On The Arts New Work grant in 2020. Wasserman has been awarded a Su- Casa award from the New York State Department Of Cultural Affairs every year since 2015. In 2021 she was invited to attend Aunt Karen's Farm residency as well as the Skowhegan Alumni Residency. In addition, Wasserman is a Finalist for the NYSCA/NYFA Artist Fellowship 2020 in the category of Printmaking/Drawing/Book Arts.     “Throughout my life, I've been a wander woman, a nomad, and a seeker. I paint landscapes as a way to deepen and extend my roots, ruminate on the places I've seen, and express my impressions of the landslides of the present day.   A person is a mold of the landform of their birth but also a creator of their own terrain. I wish to fuse my personal impressions of the Brazilian, “Indigenous” and lush lands, where I was born, and the war-torn coasts in the Middle East, where I was raised, with collective narratives of roaming on this shared terrain, at this landmark.    Not above, but below, the landscape is our body, a mother, a womb, origin, and destination. I paint the ground to hold and capture the world in a frame, to mold the pigments as a living, breathing clay, that shapes my native land.   My painting process entails multiple actions of layering, pouring, dripping, spilling, erasure and mark-making. Surfaces and images get erased as they emerge, painted over as they solidify, and then altered again, leaving behind the rich soil of the under-paint. My impulse to destroy is as fierce as my motive to create.I paint on the wall, floor, and table, mimicking the wanderer's frequent relocations, traveling on the canvas, North, South, East, and West, where the flow of image and gestures I've picked up along the way, spring up.    Applying layers of translucent paint from brightly colored grounds to nuanced earth tones I merge modernism with the traditional application of oil paint.Stained rags and torn clothes, ‘lowly,' and 'discarded,' aids in my humble labor, worn on my and my children's skin, get adhered to the surface, as ‘body,' as abandon, as an alchemical process, as recycled form and matter, as evidence of process, a woman's labor, unseen.   My paintings and drawings, realistic, abstract, and magical, depict inner and outer terrains that allude to the body, to the earth, to paths and physical quests. Flora, fauna, and the elements of fire, water, earth, and sky are all manifestations of inner vistas as much as outer typographies, rooted in meditations of life, cycles of time, and change.   The lands which I paint are often hybridized, conjuring multiple sources, climates and terrains, a synthesis, a migrant's mind. I weigh on the personal and collective narratives of wanderings on our life-giving earth, the grounds which are rapidly cracking under the heavy stomping of our feet.     With striking paint marks, suggestive and realistic imagery, I depict sunken houses, mountains speckled with tents, piles of stones, cut trees, and rings of smoke. I often meddle with perspective, merging the ‘horizon line' into a swirling tapestry of shifting forms, like our crumbling terrains.    Alongside these prophecies, are utopian vistas of another materiality, with fervent beauty, untouched and unburdened by our hardened reality. With paint and a brush, through colors, movement, and depth of emotion, I enter a doorway, away from relativity, where I'm in the perfection behind this duality. It's my passion, inspiration and striving to share this vista that sparks so brightly, an invitation to another actuality.”         LINKS:  https://www.facebook.com/deborah.wasserman1/ www.instagram.com/deborahwassermanart www.deborahwasserman.com     I Like Your Work Links:   Exhibitions Studio Visit Artists I Like Your Work Podcast Instagram Submit Work Observations on Applying to Juried Shows Studio Planner

Amy Sacksteder is an artist and curator whose work explores personal and collective relationships to landscape and artifact. She works across media, most commonly in painting, collage, drawing, cut paper, installation, and ceramics. She has participated in exhibitions nationally and internationally. Recent solo venues include Divisible Projects (Dayton, OH) and Alma College (Alma, MI). Recent group venues include Ortega y Gasset Projects (Brooklyn, NY); BasBlue via Belle Isle Viewing Room (Detroit, MI); Buckham Gallery (Flint, MI); Contemporary Art Matters Gallery (on Artsy and in NY); Scene Metrospace (Lansing, MI); and Western Illinois University (Macomb, IL).     Sacksteder has completed artist residencies at SÍM (Reykjavík, Iceland); Takt (Berlin, Germany); The Hungarian Multicultural Center (Budapest, Hungry); and the Ragdale Foundation (Lake Forest, IL); among others. In 2012 she was awarded a Gallery-as-Studio Residency and solo exhibition at the University of Nevada, Reno. Her work has been featured and reviewed in journals such as The Offing, Flint Magazine, New American Paintings and the Chicago Tribune and is included in the curated online registries of The Drawing Center and White Columns and in the Flat File 2022 Program at Ortega y Gasset Projects. In 2021, Sacksteder was invited to join the Long Island City Studio Collective in New York, where she maintains a selected inventory of artwork. Her work can also be viewed at Belle Isle Viewing Room in Detroit and on ArtFare. She is now represented by IBIS Contemporary Art Gallery in New Orleans.     Amy Sacksteder has curated and co-curated the national and international exhibitions Island: 22 Artists on Iceland in 2011 (co- hosted at 'CAVE Gallery, Detroit, MI); Atmosphere: Artists' Responses to Space(s) in 2015; and Vitrine in 2018, all at Eastern Michigan University. Sacksteder and her family live in Ypsilanti, Michigan, outside of Detroit. Sacksteder works from her studios in Ypsilanti and Long Island City, and is a professor in the School of Art + Design at Eastern Michigan University.   Artist Shout outs: https://www.bock-nelson.com/ http://www.kellyannemueller.com/ http://www.yaseminkackar.com/ https://www.kristendroz.com/ http://www.markjoshuaepstein.com/ https://www.hannahburr.com/ https://www.joesacksteder.com/ https://www.emich.edu/art/index.php https://www.nicole-pietrantoni.com/     LINKS:  https://amysacksteder.com/ https://www.instagram.com/amysacksteder_studio/ www.instagram.com/object_affinity   https://www.nyccritclub.com/ https://go.sunlighttax.com/ilyw https://www.tjwalshcoaching.com/   I Like Your Work Links:   Exhibitions Studio Visit Artists I Like Your Work Podcast Instagram Submit Work Observations on Applying to Juried Shows Studio Planner

Think you can't make work unless you have a big palatial studio? Think again! Great art can also be made in kitchens! Here's proof: Ida Appelbroog: Art 21 episode "Power" & Jo Applin essay Martha Rosler: "Semiotics of the Kitchen" Mimi Smith at White Columns in "Gloria" 2002 and at her website: https://mimismith.com/1970.html Betye Saar's "Black Girl's Window" Joseph Cornell's works & The Guardian article Carrie Mae Weems: "Kitchen Table Series" 1990 & National Gallery of Art Lecture Robert Rauschenberg: Combine w/ spoon "Trophy II (for Teeny and Marcel Duchamp)" 1960 & The Guardian article Alice Neel: "Thanksgiving" 1965 Alexander Calder: Cutlery Ann Ryan: Collages I made this ep back all the way back in December 2021 after reading that great Betye Saar quote in the Question of Balance Book...so happy to get a chance to release it finally! ... Please connect with the Peps Pod on Instagram @peptalksforartists. Amy's website: https://www.amytalluto.com/ All licensed music is by Soundstripe --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

If you know anything about the art world, likely you've heard of Bill Arning. He's been an important influence on art in many areas since he emerged as a prominent figure in the 1980s East Village art scene, serving as chief curator of the alternative art space, White Columns. Prior to joining Contemporary Arts Museum Houston in 2009, he was a curator at the MIT List Visual Arts Center in Cambridge, Massachusetts for nine years. Arning is also known for his personal collection of roughly 800 works by gay artists and recently announced the opening of Bill Arning Exhibitions, his new gallery in Houston, in October of this year. Most importantly, Bill is getting married and just bought a house in Old Chatham, NY with his fiance, a terrific artist—Aaron Michael Skolnick. Aaron's work is connected to. nature—Aaron does plein air painting, so living in Houston full time just wasn't practical for them. Here's a quote from Bill's Instagram: Just bought a house from 1830 in Old Chatham NY - I've never lived out of the city before and I'm very excited to learn new ways of living at 61, @aaron_michael_skolnick studio is the priority and we will be up there full-time for the summer and then I'll be back-and-forth between Houston and Hudson valley at least for part of the 22/23 gallery season while figuring out how to contribute to the Hudson Valley Art Community." This is such a great session. Bill is a blast, honest and direct and entertaining. We discussed so many things, both art related and personal. More about Bill Arning and his projects HERE. Instagram HERE. More about his Gay Art Collection HERE. Instagram HERE.

Untitled Collage 2 John J. O'Connor was born in Westfield, MA and received an MFA in painting and an MS in Art History and Criticism from Pratt Institute in 2000. He attended The MacDowell Colony, the Skowhegan School of Painting and Sculpture, was a recipient of New York Foundation for the Arts Grants in Painting and Drawing, the Pollock-Krasner Foundation grant, and the Marie Walsh Sharpe Foundation Studio residency. John has been in numerous exhibitions abroad, including The Lab (Ireland), Martin Asbaek Gallery (Denmark), Neue Berliner Raume (Germany), Rodolphe Janssen Gallery (Brussels), the Louhu District Art Museum (Shenzhen, China), TW Fine Art (Australia); and in the US at Andrea Rosen Gallery, Pierogi Gallery, Arkansas Arts Center, Weatherspoon Museum, Ronald Feldman Gallery, Marlborough Gallery, White Columns, the Museum of Contemporary Art in Baltimore, the Queens Museum, and the Tang Museum. His exhibitions have been reviewed in Bomb Magazine, The New York Times, Artforum, the Village Voice, Art Papers, the Brooklyn Rail, and Art in America. John presented his work in discussion with Fred Tomaselli at The New Museum, and his work is included in the collections of the Museum of Modern Art, Whitney Museum of American Art, Weatherspoon Museum, Hood Museum, Southern Methodist University, and the New Museum of Contemporary Art. A catalogue spanning 10 years of John's work was published by Pierogi Gallery with essays by Robert Storr, John Yau, and Rick Moody. He teaches at Sarah Lawrence College. The upcoming shows mentioned in the interview will be at False Flag Gallery and Pierogi Gallery. O'Connor also has a 2-person show upcoming at Pazo Fine Art. The books referenced in the interview were Daniil Kharms, "Today I Wrote Nothing" and Antonio Damasio, "Feeling and Knowing." "I Shot," 82.25 x 70.25 inches, colored pencil and graphite on paper, 2020 "Charlie (Butterfly, day 3)," 86 X 70 inches, colored pencil and graphite on paper, 2018

Cynthia Daignault received a BA in Art and Art History from Stanford University. She has presented solo exhibitions and projects at many major museums and galleries, including the Metropolitan Museum of Art, New Museum of Contemporary art, the Crystal Bridges Museum of American Art, MASS MoCA, the Modern Art Museum of Fort Worth, the Brooklyn Museum of Art, Kasmin Gallery and White Columns. Her work is in numerous public collections, including the Metropolitan Museum of Art, the Dallas Museum of Art and the Baltimore Museum of Art. Daignault is a regularly published author, and editor of numerous publications. The first major monograph on her work, Light Atlas, was published in 2019, and a new paperback edition will be released in early 2022. She is the recipient of numerous awards, including a 2019 Pollock-Krasner Foundation Grant, a 2016 Foundation for the Contemporary Arts Award, a 2011 Rema Hort Foundation Award, and a 2010 MacDowell Artist Fellowship. She lives and works in Baltimore, Maryland. Gettysburg (Stereoscopic) 2021 30 x 60" Oil on Linen Gettysburg (Rorschach) 2021 19 x 19" Oil on Linen

Amy Reidel, Independent Artist, and Margaret Rieckenberg, Associate Curator for Barrett Barrera Projects stopped by to speak about the happenings at the various galleries of BBP, and specifically about the exhibition "Stretch Marks" which has been extended through November 27th. Amy Reidel is a St. Louis-based artist who has exhibited work regionally and nationally. She has been a resident artist at ACRE (Artists' Cooperative Residency and Exhibitions) based out of Chicago, the David and Julia White Artists' colony in Ciudad Colon, Costa Rica and at the Luminary Center for the Arts in St. Louis. She has exhibited work at venues including the Contemporary Art Museum-St. Louis, ACRE projects gallery in Chicago, and the Amarillo Museum of Art. Her work can be viewed online in the curated artist registries and viewing programs at White Columns and the Drawing Center in New York City. In 2014, 2019 and 2020 Reidel was awarded Artists' Support and COVID-19 relief grants from the Regional Arts Commission of St. Louis and the Washington University/Mildred Lane Kemper Art Museum. In 2016 she received the Critical Mass Creative Stimulus award. Reidel is currently a faculty member at Washington University and St. Louis Community College as well as Co-Founder of All the Art: The Visual Art Quarterly of St. Louis (2015-2020). Stretch Marks is an exhibition that highlights expressive mark-making as a means to explore the material in the maternal and the experience of having a body and therefore a mother. Representations in painting, drawing, photography, fiber, sculpture, and ceramics reveal bodies in transitional states, stretching themselves, often reaching through time toward other bodies that precede or continue their own material existence. The artists in this exhibition investigate subjects that include the experience of being a mother; our relationship to the Earth; materiality and tactility; abjection and the grotesque; portraiture and self-portraiture; domestic space; familial relationships; cultural identities; and feelings of love, horror, faith, and loss as they relate to maternal bodies. With many references to the landscape—and trees in particular—the images in these artworks allude to the longstanding conceit of nature and the Earth as a mother, as well as how we often envision family lineages as both branches of a tree and roots. Another repeating motif in the exhibition is images of hands, suggesting tactile manipulation and the presence of touch. Connecting these many images and ideas is a critical attention to generation—both as an act of creation and a form of inheritance—with works that reflect on time, family, birth, and making in their myriad incarnations. One of Amy Reidel's Mombies Natalie Baldeon: Reminders or Loss              

Photo credit: Gina Ruggeri Robert(a) Marshall's biography of Carlos Castaneda, American Trickster, is due out from University of California Press in 2022. Their novel, A Separate Reality, was published by Carroll & Graf in 2006; their writing has also appeared in Salon, The Evergreen Review, N + 1 Online, the Kenyon Review, Barcelona Review, Another Chicago Magazine and numerous other publications. Their paintings, photographs, and videos have been shown at Participant Inc, White Columns, Art in General, Baxter Street, Studio One Gallery, and many other venues in the United States, Europe, and Latin America. They are the coproducer of Trickster, a podcast about Castaneda. Double Self portrait 1 42 x 36 UV Curable Ink on Mirrored Dibond 2020 Car Window 42 (JFK) 42 x 56 UV curable ink on Mirrored Dibond 2019

Lisa Spellman first arrived in New York to study art at SVA, moving into a loft that seemed pre-destined to be a gallery. Kim Gordon was reading about the art happening in New York while she was in LA, but when she got to the East Coast, ended up playing music. A few years later, Spellman founded 303 Gallery and Gordon was writing and playing with iconic band Sonic Youth. The two talk to Marc Spiegler about New York City in the 1980s and 1980s, the art scene and the music scene, the places they all went, and how it all intersected. It's an image of an old New York that still reverberates in the city today. For further reading:-Andy Warhol's Factory:https://www.artlife.com/inside-the-factory-the-studio-where-andy-warhol-worked/ https://www.nytimes.com/2018/11/12/style/andy-warhol-factory-history.html -Cady Noland:https://www.guggenheim.org/artwork/artist/cady-noland-Christian Marclay:https://whitecube.com/artists/artist/christian_marclay -Dan Graham:https://www.crash.fr/a-meeting-with-dan-graham/ -Jim Jarmusch:https://www.sensesofcinema.com/2003/great-directors/jarmusch/-Johnny Thunders (New York Dolls, Heartbreakers)https://www.loudersound.com/features/so-alone-the-johnny-thunders-story (long in-depth profile on Johnny Thunders' life featured in Louder Sound, a UK rock magazine published by Future)-Judson Dance Church:http://judsonclassic.org/Dance -Kim Gordon's Design Office:https://www.303gallery.com/public-exhibitions/design-office-with-kim-gordon-since-1980/press-release-Richard Prince:https://gagosian.com/artists/richard-prince/ -Rodney Graham:https://www.lissongallery.com/artists/rodney-graham -White Columns:https://www.nytimes.com/2021/06/10/arts/design/anniversary-white-columns-gallery-.html

Billy Childish  Since 1977 Billy has released over 150 independent LP’s, published 5 novels and over 45 collections of poetry, but his main job is painting. He has had solo and group exhibitions internationally including New York, London, Seoul and Berlin. He was included in British Art Show 5, which toured throughout four cities – Edinburgh, Southampton, Cardiff, and Birmingham. In 2010, he was the subject of major concurrent survey exhibitions at the ICA in London and White Columns in New York, and in 2011 he became Artist in Residence at the Chatham Historic Dockyard where he currently works. Billy’s next exhibition opens with Lehmann Maupin at their new London space on 5th Oct. It’s not on their exhibitions page yet but it will be here https://www.lehmannmaupin.com/exhibitions soon. Here’s also a link to Billy’s projects page on our website https://l-13.org/projects/billy-childish/

Episode 150! We’re commemorating by taking a look back at one of our favorite documentaries, the 2010 Jeff Malmstein documentary Marwencol. After recovering from a brutal attack that left him in a coma, Mark Hogancamp builds a miniature World War II-era town in his backyard and creates photographic stories of its intrigues.This is a story about hate crimes, art therapy, and time-traveling witches!Marwencol has a 98% rating on Rotten Tomatoes while its biopic adaptation starring Steve Carell has only 35%.Follow us on:Twitter: @supdocpodcastInstagram: @supdocpodcastFacebook: @supdocpodcastsign up for our mailing listAnd you can show your support to Sup Doc by donating on Patreon.

Seated in my studio between "We can't have Heaven Crammed" and "Bring Home the Bacon", both oil on linen. Barbara Friedman is an artist based in New York City and a professor of art at Pace University. She has exhibited widely, with multiple two- and three-person shows in the last few years, at spaces including Five Myles in Brooklyn, NY; (2020), Sara Nightingale Gallery in Sag Harbor, NY (2019); and Amy Simon Fine Art in Westport, CT (2017); as well as 36 solo shows, most recently at CAS in Livingston Manor, NY and Hamilton Square in Jersey City (2017), Buddy Warren Gallery in New York, NY (2016); BCB Art in Hudson, NY (2015); Ober Gallery in Kent, CT (2014); Ethan Petitt Gallery in Brooklyn, NY (2014); the Painting Center (2012); and twice at Michael Steinberg Fine Art in New York, NY (2007, 2009).  Earlier solo exhibitions were at Art Resources Transfer, The Queens Museum, and White Columns (all NYC); Carnegie-Mellon University, Cleveland State University, the Roanoke Museum of Fine Arts, and the Dana Wright Gallery in San Francisco among others. Reviews of Friedman’s work have appeared in the New York Times, the New York Sun, The Irish Times, Newsday, Art in America, ARTS Magazine, the Christian Science Monitor and Artweek. Interviews have appeared in Artspiel.org, Figure/Ground and by Paul D'Agostino. A group of her paintings was selected for the 2007 issue of New American Paintings, and another group for the 2010 issue. She was an Artist in Residence twice at the Marie Walsh Foundation Summer Seminar and has also been awarded residencies at Yaddo, The Virginia Center for the Arts, and the Bogliasco Foundation. The books mentioned in the interview are: Eleanor Heartney, Doomsday Dreams: The Apocalyptic Imagination in Contemporary Art (Silver Hollow Press, 2019) and Richard Powers, The Overstory (W. W. Norton, 2018) Self portrait with Pig Watercolors on Studio Wall

Robert & Russell meet legendary British artist Denzil Forrester. We discuss 40 years of painting, his childhood in Grenada, the impact of moving to London in 1967 aged 11, his memories of making drawings in London's dub & reggae nightclubs of the late 1970s-80s, his admiration for Jah Shaka's sound system and the drive to create paintings that documented the club scene he cherished. We learn about racially-motivated arrests of the time including Forrester's own unjust arrest as a student followed by the death of Winston Rose a few years later, a friend of Forrester’s who died while under police restraint. Forrester went on to pay tribute to Rose in a number of iconic paintings including 'Three Wicked Men' (1981), now part of Tate museum's collection, and in a recent large-scale public mural for Art on the Underground titled 'Brixton Blue' (2019). Reflective of the contemporary black experience and the racial tensions of the 1980s, the mural straddles Brixton station's entrance and depicts a Brixton street scene with the figures of a truncheon-wielding policeman, a Rastafarian ‘businessman’ holding a portable sound system and a besuited politician. We also hear how curator Matthew Higgs of White Columns, New York and fellow painter Peter Doig & TRAMPS gallery helped shine a spotlight on Forrester's paintings for a new generation.Denzil Forrester's major solo exhibition 'Itchin & Scratchin' runs at Nottingham Contemporary until 3rd May 2020. This remarkable exhibition's wide ranging artworks roam from London to Rome and New York, from Jamaica to Cornwall. Pulsing with music and movement, these nocturnal scenes are by turns intimate and ecstatic, singular records of the Afro-Caribbean experience in Britain. Presented in partnership with Spike Island, Bristol, where it will travel to from 4 July to 6 September 2020. Follow @Nottm_Contemp and @SpikeIsland. Special thanks to @StephenFriedmanGallery's Karon Hepburn, Jonathan Horrocks and Tamsin Huxford. If you've enjoyed this episode, be sure to leave us a review on Apple Podcasts or email talkartpodcast@gmail.com as we love hearing your feedback! @talkart See acast.com/privacy for privacy and opt-out information.

Elise Ferguson is an artist based out of Brooklyn. She was born in 1964 in Richmond Virginia and received her BFA from the Srt Institue of Chicago and her MFA from the University of Illinois at Chicago. She’s had solo shows at Odd Ark in LA, Romer Young in San Francisco, Halsey McKay in East Hampton, 106 Green in Brooklyn, White Columns and many others. She’s had numerous group shows and her work has been covered in Contemporary Art Daily, Art News, Interior Design, the New York Times, New York Magazine, Newsday and many others. She’s done residencies at MacDowell Colony, UNLV, Barton College and the Socrates Sculpture Park Residency. If you would like to support this podcast visit patreon.com/soundandvisionpodcast . when you make a donation to the podcast, you can have your name mentioned on a future podcast and even get a hand drawn thank you. Sound & Vision is made possible by listeners like you. Sound & Vision is sponsored by Golden Artist Colors. Golden is a company based in upstate New York and is committed to making the best artist materials for artists to make work with. You can get it in just about every art store and online at goldenpaints.com

Caroline Cox creates process oriented installations and drawings. The installations evolve through an improvisational process that explores how materials interact with light, gravity and space. Through experimenting with materials that are optically interactive, pliable, and light weight she develops shapeshifting overlays and optical mutations. These coalesce into ambiguous environments that can range from the microscopic to outer space. Cox’s interactive installations contemplate the intricacies and poetic mutability of perception.   Cox has shown at the Yale University School of Art, Wake Forest University, Old Dominion University, Pierogi, Lesley Heller, Smack Melon, Sculpture Center, White Columns, Kathryn Markel Fine Arts, Outpost, Governor’s Island, The Kitchen and had solo shows at Studio10, Long Island University Bklyn, FiveMyles, Another Year in LA, Sarah Bowen, Big & Small Casual, Het Apollohuis. She has completed residencies at Edward Albee’s, The Barn, The Clocktower and Het Apollohuis, Eindhoven, the Netherlands. Cox has received grants from the Pollock Krasner Foundation, The Tree of Life Foundation, and Artist Space. Her work has been reviewed online at Hyperallergic, Art in America, Art Critical, Artweek, and in print in Sculpture Magazine, the New York Times, Time Out, The Village Voice and published in Alternative Histories, New York Art Spaces,1960-2010, MIT Press, Found Object,  a quarterly journal published by the Center for the Study of Culture, Technology and Work at the Graduate School of the CUNY Cox is from California and while living in San Francisco she was part of the women’s artist cooperative, Amargi, a live/work space for artists. After moving to NYC she played in the noise band, The Chairs, that performed at Roulette. While living in Brooklyn Caroline co-founded and ran Flipside, an alternative exhibition space, with Tim Spelios. Caroline has also curated shows at The Outpost, Sarah Bowen Gallery, Schroeder Romero Gallery, Century29, The Police Building (through OIA) the show traveled to William Patterson College. Yellow, Blue, Green, 2018, installation at Studio10 from Cox’s solo show, horsehair fabric and monofilament, dimensions variable Caroline Cox’s studio, the drawings are untitled, 2019, ink on paper, (R) 36” X  54”,  (L) 58” x  48”. The 3D works are in progress and made from monofilament, horsehair tubing and wire. optical effects of glass balls & lenses from Caroline Cox on Vimeo.

I ART New York interviews Brooklyn based artist Lisa Levy; she discusses her performance art, paintings, and her talk show “Dr. Lisa Gives a Shit”, in which she adopts the role of psychiatrist. Lisa infuses humor into her work while retaining a tone of seriousness in each of her projects. Lisa’s artwork has been exhibited widely including at the New Museum, Bronx Museum, White Columns, and Artists Space. The music intro and outro music are by singer, songwriter Ivo Dimchev. Follow on Instagram: #Ivo_Dimchev and on Spotify. Title tracks “I Cure” and “I Can Not”. I ART New York is produced by your hosts, Izabela Gola and Rebecca Major.

Chris Bors was born in Ithaca, New York and received his MFA from School of Visual Arts. Solo shows include Randall Scott Projects in Washington, D.C. and Art During the Occupation in New York City. His art has also been exhibited at PS1 MoMA, Freight+Volume, Arts+Leisure, Kustera Projects, White Columns, and the Bronx Museum of the Arts in New York, Casino Luxembourg in Luxembourg, Bahnwarterhaus in Esslingen, Germany and Bongoût in Berlin. His work has been reviewed in the New York Times, Time Out New York, and the Brooklyn Rail and featured in Vogue Italia, K48 and zingmagazine. He has written for Artforum.com, ArtReview, and Art in America, among many other publications. Books mentioned in the interview were, J.G Ballard, Kingdom Come and Michael Craig-Martin, On Being an Artist. Chris Bors, Orange, Acrylic, vinyl paint and griptape on cloth, 20 x 24 inches Chris Bors, Born Low 2, 2019, Acrylic on canvas, 45.5 x 34 inches

Under the direction of artist and curator Matthew Higgs, White Columns gallery of New York City gave life to its record label ‘The Sound of White Columns’ to publish the organization’s longstanding collaborations with musicians that has included such as Thurston Moore, Kim Gordon, Meredith Monk and many more. In between the highly referenced artists present in this episode, there's an intruder, a very prolific composer, that released more than ten thousand songs on Youtube and Spotify, but this is another story. The episode features: Martin Creed, Tussle, Ikue Mori and Julianna Barwick, Kim Gordon, David Robbins, The Hungry Food Band, Malcolm Mooney, Karl Holmqvist, David Van Tieghem, Meredith Monk and Christopher Knowles.

Joe Fyfe is a painter and art crit ic based in New York City. He received his BFA from the University of the Arts in Philadelphia in 1976. He has published his writing on art for the past twenty years in publications such as Art in America, ArtForum and Hyperallergic. Recent solo shows include Nathalie Karg Gallery, Ceysson & Benetiere in Luxembourg, Lovass in Munich, Galerie Christian Lethert in Koln, White Columns in New York amongst many others. He’s had group shows at 56 Henry, Halsey McKay, the American Academy of Arts and Letters, Pablo’s Birthday, Galerie Zurcher, the Everson Museum and many more. Awards include the American Academy of Arts and Letters Gwendolyn Knight Award, a Fulbright, the Pollock Krasner Award, a Guggenheim, a McDowell fellowship, a Yaddo Fellowship, a Gottlieb Award and many others. He’s a tenured professor at Pratt and he’s given countless talks and panel discussions and has contributed greatly to the world of art through his work and his writing. Sound & Vision is sponsored by Golden Artist Colors. Sound & Vision is sponsored by Barronarts. Barronarts is a Brooklyn-based designer and builder of the best stretcher frames, art panels and floater frames in New York and the US. Sound and Vision is supported by the New York Studio School, where drawing, painting and sculpture are studied in depth, debated energetically, and created with passion. The New York Studio School offers a range of programs including the MFA, the Certificate Program, the Marathon Program, Evening & Weekend Classes, and a distinguished Lecture Series that is free and open to the public. The School’s internationally recognized Marathons are two-week intensive courses designed to build momentum and expand one’s creative boundaries! The School welcomes participants for the Fall 2019 Marathons in Drawing and Sculpture which begin September 3rd. Apply online today at nyss.org

On this week’s episode of the B&H Photography Podcast, we welcome a true photography legend—curator, critic, and author, Vince Aletti.  Anyone who lived in New York in the 1980s and ’90s, and is interested in photography, will know of Aletti as the photography critic at the Village Voice. He went on to review photo exhibitions at The New Yorker until 2016. He has also curated exhibitions at the International Center of Photography and White Columns gallery, and has authored many books, including his latest, Issues: A History of Photography in Fashion Magazines, which he joins us to discuss. In addition to his writing and curating, Aletti is a collector, and has created a collection of the most important issues of fashion magazines from the past 100 years. The book, Issues, employs that collection to offer a history of fashion photography as it was meant to be viewed—in magazines, and our conversation focuses on the context of the magazine as “the ideal delivery system” for the best photography of several generations. We discuss the beginning of fashion magazines and introduction of photography to that format and we spend time discussing the work of Richard Avedon, Irving Penn, and Steven Meisel by looking at issues of magazines for which they were the primary, if not sole, photographer. The production of these magazines—Harper’s Bazaar, Vogue Italia, The Face, for example—are mentioned, as are the creative directors, editors, and stylists, but the point of this enlightening conversation (and Aletti’s book) is how great photographers have used the specific format of the fashion magazine for their ground-breaking and ever-evolving images. Today also marks the beginning of the B&H Photography Podcast Panasonic LUMIX S1 Sweepstakes.  Follow the above link for the rules and entry guidelines and you’ll have two chances to win a new Panasonic LUMIX DC-S1 Full-Frame Mirrorless digital camera with 24-105mm lens or a Panasonic LUMIX DC-G95 Mirrorless digital camera with 12-60mm lens. Also, look for the upcoming special episode of our podcast with Panasonic Lumix Global Ambassador Shiv Verma. Guest: Vince Aletti Photograph by Erwin Blumenfeld. Courtesy Vince Aletti and Phaidon 

Berry van Boekel is known for his ongoing annual Top 100 project that started in the Netherlands while he was still a teenager. In more than thirty-five years, he has charted millions of songs and painted thousands of musician's portraits. He also teaches studio art and art history at Florida SouthWestern State College and has exhibited with the prestigious White Columns in New York; Skylab in Columbus; Reed Gallery at the University of Cincinnati; Country Club Projects in Cincinnati, Peel Gallery in Houston, and with the NADA Art Fair in Miami. Recently his work was shown at Tempus Projects in Tampa, curated by Jade Dellinger, director at the Bob Rauschenberg Gallery in Fort Myers.

Amanda Browder's "Land of Hidden Gems" on display on the HFA building at UNLV In Las Vegas, Nev. on April 5, 2019. Born in Missoula, MT in 1976, Amanda Browder received an MFA/MA from the University of Wisconsin at Madison and taught at the School of the Art Institute of Chicago. She currently lives and works in Brooklyn, New York producing large-scale fabric installations for building exteriors and other public sites. She works primarily with the community, and sources all of her material from donations. She has shown nationally, and internationally including at the New Museum, Ideas City Festival, SPRING/BREAK Art Fair, FAB Fest in New York City; The Dumbo Arts Festival, Brooklyn; University of Alabama at Birmingham AAHD, Birmingham, AL; Nuit Blanche Public Art Festival/LEITMOTIF in Toronto; Mobinale, Prague; Allegra LaViola Gallery, NYC; Nakaochiai Gallery, Tokyo; White Columns, NYC; No Longer Empty, Brooklyn. She has been published in books such as Unexpected Art: Chronicle Books and Strange Material; Arsenal Pulp Press. This year she will create a large-scale work as part of Art Prize: Project 1 and was named a Transformation Fellow at UNLV. In 2016, she received her first National Endowment for the Arts grant and worked with the Albright Knox Art Gallery to drape three buildings in Buffalo, NY. Photos and reviews have appeared in New York Times to Fibers Magazine and she is a founder of the art podcast, badatsports.com. Book mentioned during the interview were The Art of Gathering: How we Meet and Why it Matters by Priya Parker and Janesville: An American Story - Book by Amy Goldstein. Spectral Locus: Clifton Hall and a Public Sewing Day at Starlight Studios in Buffalo, NY, 2016 - Albright Knox Art Gallery + AK Public Art; photo by Tom Loonan Spectral Locus: Richmond and Ferry Church and 920 Broadway in Buffalo, NY, 2016 - Albright Knox Art Gallery + AK Public Art; photo by Tom Loonan

Lisa Beck works with a variety of mediums  and modes, including painting, sculpture and installation (often in combination), involving inner and outer space, landscape, reflection, and the paradoxical relationship of something and nothing. Since the 1980s, her work has been exhibited in the US and internationally in venues including Feature Inc. (NYC), Elizabeth Dee Gallery (NYC), Anton Kern Gallery (NYC),  Galerie Samy Abraham (Paris),  Circuit, (Lausanne), PS1 (Long Island City),  White Columns, (NYC),  MAMCO – Museé d’ Art moderne et contemporain (Geneva), and the New Britain Museum of American Art (New Britain, CT). In 2013, “Endless”,  a survey show of works from 1986-2012, was presented at the Fort du Brussin, a hors le murs exhibition by La Salle de Bains, in Lyon, France Lisa’s work has been included in publications including  Painting Abstraction: New Elements in Abstract Painting by Bob Nickas,(2009, Phaidon Press) and Are You Experienced? by Ken Johnson (2011, Prestel).  In 2015, The Middle of Everywhere, a monograph on her work, was published by Galerie Samy Abraham  and La Salle de Bains. Lisa was a recipient of the 2012-13 Marie Walsh Sharpe Space Program Studio Residency in Brooklyn. Lisa Beck received a BFA from RISD. She lives and works in Brooklyn, NY. Elements 8 ( Rising and Falling), 2017. Aluminum leaf, acrylic paint , oil paint, enamel paint on 2 canvases, each 48x36 in. Flare, 2012/16. Acrylic paint on wall, mylar in 6panel, total size 48x51in.

Ellen Berkenblit is a painter who was born in Paterson, New Jersey and graduated from the Cooper Union in 1980. She received an Arts and Letters grant from the American Academy of Arts and Letters in 2013, and a Guggenheim Fellowship in the following year. She has solo shows at the Anton Kern Gallery, The Drawing Center, Rodolphe Janssen, Susanne Vielmetter, White Columns and group exhibitions at many venues including Gladstone Gallery, MOMA, Brand New Gallery, the MCA in Chicago, the Centre Pompidou, Derek Eller, Essex Flowers and the New Museum. Her work has been covered in just about every art publication and she’s in the collections of the Aspen Art Museum, the Brooklyn Museum, MoMa, the Whitney Museum and many more. Brian went to Ellen’s Gowanus studio to talk to her about early East Village days, punk rock, fabrics, process and physicality in painting and much more. Sound & Vision is sponsored in part by Charter Coffeehouse located on Graham Avenue in East Williamsburg, Brooklyn, one block from the Graham L Stop. Charter combines dedication and skill, refined over a decade in some of the most detail-oriented dining experiences in the world, and applies them to your daily coffee experience. Find out more at www.chartercoffee.com or follow them on Instagram at @charter_bk Sound & Vision is also sponsored by Kensington Panel and Stretcher who offers high quality custom surfaces for painting and mixed media artwork. All products are hand made and designed to meet the highest standards of strength and stability. To learn more or place an order, visit them online at kensingtonpanels.com.

The second episode of Collect Wisely was recorded live at Frieze New York, May 2, 2018. Greg Miller is the President of the Board of Directors at White Columns, an art book publisher and a prolific art collector.

Shirley Kaneda is an artist living and working in New York City. Shirley was born to Korean born parents in Tokyo and moved to New York City to attend Parsons where she received her BFA in 1976. Shirley has had over 25 solo shows at venues such as Jack Shainman, Feigen Contemporary, Galerie Shuster, Mark Moore, Danese Gallery, Galerie Richard and more. She has been in group exhibitions too numerous to mention in venues such as White Columns, The American Academy of Arts and Letters, the Chelsea Art Museum, Acme, Rhona Hoffman and many, many more. Her paintings have been covered in Art in America, the New Yorker, Art on Paper, the New York Times, Time Out, Art News amongst many others. On top of her long legacy of making and showing her art, Shirley is also a highly regarded art professor who has taught at Claremont, Parsons and most recently at Pratt where she taught from 2003 until just this year when she retired. She also has pusblished interviews in Bomb magazine with artists Fiona Rae, Fabian Marcaccio, Johnathan Lasker and others. Brian stopped by Shirley’s amazing SoHo loft studio and they spoke of her days growing up in Tokyo, moving to the US, being in SoHo in the early unpolished days, music choices in the studio, playing guitar and much more.

Lisa Sigal is an artist living and working in Brooklyn, New York. She was born in Philadelphia and received her BFA from Tyler School of Art. She then attended Skowhegan and went on to get her MFA in apinting from Yale University. She has has solo shows at the Mattress Factory in Pittsburgh, LAX Art in LA, Samson Projects in Boston, the Aldrich Museum in Connecticut, White Columns in NYC and many more. She’s been in group shows too numerous to name, but a few include the New Museum, P.S.1, the Brooklyn Museum of Art, Artists Space, Painting Center, Art i n General and many more. Her work has been covered in Art News, Art in America, Artforum, Time Out, The New York Times and many others. She has won the Anonymous Was A Woman Grant, a Guggenheim Fellowship, a NYFA Grant, amongst others. Lisa is also the co-founder and co-curator, with Nova Benway, of Open Sessions, a program for artists run by The Drawing Center. Brian met up with Lisa at her Gowanus studio and they spoke about public art, old Soho days, gentrification, music and her current show at Miller Contemporary.

Yui Kugimiya is an artist born in Tokyo and lives in Brooklyn, New York. She received her BFA from the Massachusetts College of Art, her MFA from Yale University and attended Skowhegan in 2010. Recent solo exhibitions include shows at Taymour Grahne in New York, Gallery Enrique Guererro in Mexico City, Marlborough Broome Street and Kunsthall Stavenger in Norway. She has also had recent group exhibitions at Kansas, Bermuda Galley, White Columns, David Castillo, Gasser & Grunert, and the Journal Gallery just to name a few. Her work is in the collection of the Everson Museum of Art in Syracuse and the Museum of Modern Art in New York. Brian met up with Yui at her current show at Taymour Grahne gallery in Tribeca and they spoke about her youth in Tokyo, her transition to the Northeast, her dabbling as a punk drummer and the moves she makes in her animations and paintings.

John Baldessari (artist, Santa Monica) & Matthew Higgs (artist & Director, White Columns, New York) in conversation at Frieze London 2009

Juliana Huxtable & LaTasha N. Nevada Diggs Readings Friday, October 9, 7pm Artists Space Books & Talks 55 Walker Street “Performance is a bothersome word for writerly poets” writes poet Nathaniel Mackey in his essay “Sight-Specific, Sound-Specific…” from 2005. Despite twentieth century poetry’s rich tradition of performance, Mackey notes that in poetry there is often an expectation for words do the performing, as opposed to people or things. Yet, language exists beyond just words, and functions in tandem with images, gestures, bodies and technologies. In this series of readings, distinctions between the language of performance and the performance of language are blurred. Foregrounded are writerly poets who embrace images, gestures, bodies and technologies in the presentation of their poetry – as elements that don’t overshadow their poetics, but are embraced as part of its liveliness, and of reading as a social experience. The series is structured via themes of sound, the body, technology, theater and comedy. These themes offer different formal histories for poets to explore the presentation of poetic language. Juliana Huxtable and LaTasha N. Nevada Diggs both experiment with the effects of audio distortion and sampling. Sophia Le Fraga, Ian Hatcher and Alejandro Miguel Justino Crawford all utilize different digital technologies to question the ground of their poetry. Whitney Claflin and Corina Copp present relational and formal theatrical environments out of which their poetics unfold. There is an invisible architecture often supporting the surface of the poem, interrupting the progress of the poem. It reaches into the poem in search for an identity with the poem, its object is to possess the poem for a brief time, even as an apparition appears. writes Barbara Guest in her poetic essay, “Invisible Architecture” (2000). In this she understands the formal and historical context of the poem as a material that contributes to its meaning – as both apart from and a part of poetic language. Reading functions similarly; it is not a neutral action, but contributes to the meaning of the text presented. In a moment when language and presentation of self alike are understood as multiple, and bound within wider, connected systems, performance becomes a means of making the “invisible architecture” of the poem visible, and activating it as a poetic material in itself. Juliana Huxtable is an artist, poet, performer, and DJ who often uses her own body, gender fluidity, and identity as her primary subject. Huxtable’s work was featured in the 2015 Triennial, Surround Audience at the New Museum, New York (2015), as well as at MoMA PS1, New York (2014); White Columns Annual, White Columns, New York (2014); Take Ecstasy with Me, Whitney Museum of American Art, New York (2014); and Frieze Projects, London (2014), among other venues. She lives and works in New York. For more information click here http://artistsspace.org/programs/huxtable-diggs

Wednesday Reading Series Lucas de Lima was born in southeastern Brazil. He is the author of Wet Land (Action Books) as well as the chapbooks Ghostlines (Radioactive Moat) and Terraputa (Birds of Lace). A contributing writer at Montevidayo, he pursues doctoral studies in Comparative Literature at the University of Pennsylvania. Jeanine Oleson is a visual artist with an expanded practice. She has published two books about performance projects in 2012, “What?” and “The Greater New York Smudge Cleanse.” Oleson has exhibited and performed at venues including: New Museum, NY; Exit Art, NY; Beta Local, San Juan, Puerto Rico; X-Initiative, NY; Grand Arts, Kansas City, MO; Commonwealth & Council, CA; Socrates Sculpture Park, NY; Diverseworks, Houston, TX; L.A.C.E., Los Angeles; Monya Rowe Gallery, NY; Samson Projects, Boston, MA; Gallery 400, University of Illinois at Chicago, IL; John Connelly Presents, NY; MoMA P.S.1, NY; Pumphouse Gallery, London; White Columns, NY; and Art in General, NY. Oleson is an Assistant Professor of Photography in the Department of Art, Media, and Technology at Parsons the New School for Design. She lives in Brooklyn, NY.

Tuesday, March 8, 2011 - 7:00pm - Friday, March 11, 2011 - 9:00pm - The Illustrated Dictionary of Received Ideas March 9 - 11, 2011 | 12-2pm and 3-5pm daily Opening | March 8 at 7pm | READ Books Artist Talk | March 11 at 7pm | Theatre 301, South Building - READ Books at the Charles H. Scott Gallery is pleased to present Gareth Long and Derek Sullivan in residence to perform their on-going project The Illustrated Dictionary of Received Ideas. - Seated at their Invented Desk For Copying, a desk re-imagined from the unfinished pages of Gustave Flaubert’s last novel Bouvard and Pécuchet, the artists work towards illustrating and translating every entry in Flaubert’s The Dictionary of Received Ideas. Flaubert’s satirical dictionary contains 950 biting and surprisingly contemporary entries which Long and Sullivan interpret and compile into their collected illustrations. This work forms an on-going series of bookworks titled The Illustrated Dictionary of Received Ideas. - Long and Sullivan have performed numerous public drawing sessions to further their work on The Illustrated Dictionary of Received Ideas at galleries and book stores including Printed Matter Inc, MoMA PS1, Mercer Union, Art Metropole, The Musée Juste Pour Rire in Montreal, Flat Time House in London, UK, and Shandy Hall in Coxwold, UK. - Gareth Long lives and works in New York. He holds a BA in Visual Studies and Classical Civilizations from the University of Toronto and an MFA from Yale University. Long has had solo exhibitions at Oakville Galleries, Toronto, Leo Kamen Gallery, Toronto, and Kate Werble Gallery, New York. - Derek Sullivan lives and works in Toronto. He holds a BFA from York University and an MFA from the University of Guelph. Sullivan has had solo exhibitions at Jessica Bradley Art + Projects, Toronto, White Columns, New York, and the Southern Alberta Art Gallery, Lethbridge. - For their residency the artists will be working in the bookstore on Tuesday evening, and daily from Wednesday to Friday. On Friday evening they will give a talk beginning at 7pm in the Emily Carr Theatre, South Building, Room 301. - This iteration of the Invented Desk For Copying is made in collaboration with David McGuire.

This week: Philip von Zweck (Bad mofo, artist, and storied, long running host of Something Else on WLUW) and Simon Anderson (Associate Professor Department of Art History, Theory + Criticismm SAIC) interview a living legend, Genesis Breyer P-Orridge. Breyer P-Orridge was in town for an exhibition S/he is having at Western Exhibitions.   Genesis P-Orridge and performance artist Lady Jaye Breyer began a collaborative effort begun in 1993  that focused on a single, central concern: deconstructing the fiction of self.  Frustrated by what they felt to be culturally enforced limits on identity but emboldened by the radical power of love, P-Orridge and Lady Jaye applied collage and cut-up techniques to their own bodies in an effort to merge their respective selves.  Through plastic surgery, hormone therapy, cross-dressing and altered behavior, they fashioned a single, pandrogynous being, Breyer P-Orridge.  The work is an experiment in identity, a test of how fully two people can integrate their lives, and, ultimately, a symbolic gesture of evolution and the alchemical union of the male and female halves of the human.  Although Lady Jaye passed away in 2007, Genesis has continued Breyer P-Orridge, putting into question not only the limits between self and other but also life and death.   Genesis Breyer P-Orridge was born in Manchester, England in 1950. S/he was a member of the Kinetic action group Exploding Galaxy/Transmedia Exploration from 1969-1970. S/he conceived of and founded the seminal British performance art group Coum Transmissions in 1969 and was the co-founder of Throbbing Gristle, Psychic TV, and the spoken word/ambient music performance group Thee Majesty. Throughout Genesis' long career, s/he has worked and collaborated with William S. Burroughs, Brion Gysin, Derek Jarman and Dr. Timothy Leary, among others. H/er art has been exhibited internationally, including recent exhibitions at Deitch Projects, Mass MOCA, Centre Pompidou, Contemporary Art Museum St. Louis, Barbican Museum, the Swiss Institute and White Columns, amongst others. Upcoming exhibitions will include a solo exhibition at Rupert Goldsworthy in Berlin, a keynote address at the Erotic Screens Conference, Centre for Public Culture and Ideas at Griffith University, Brisbane, Australia and a lecture at the Museum of Modern Art, New York in March. H/er archive was recently acquired for the permanent collection of the Tate Britain Museum.