Podcast appearances and mentions of Whitney Biennial

Born in Los Angeles in 1986, Sable Elyse Smith works across a variety of media, including photography, painting, and sculpture, to investigate the US prison-industrial complex and its role in and effects on society.Her work has been featured at numerous prestigious institutions including the Museum of Modern Art, New Museum, Guggenheim Museum, and ICA Boston - among many others. In 2022, she participated in the Whitney Biennial and the 59th Venice Biennale. Smith is a recipient of several distinguished awards from Creative Capital, Skowhegan School of Painting and Sculpture, Louis Comfort Tiffany Foundation, and most recently - the 2026 Suzanne Deal Booth / FLAG Art Foundation Prize - just to name a few.She is currently an Assistant Professor of Visual Art at Columbia University.Follow along with all Art from the Outside updates on Instagramhttps://www.instagram.com/artfromtheoutsidepodcast

Caroline Monnet is a multidisciplinary artist of Anishinaabe and French ancestry, based in Montreal. She has carved out her own path as an artist and filmmaker, building a practice rooted in Indigenous knowledge systems and contemporary expression. Her work explores identity, community, and the impact of colonialism—offering any creative entrepreneur or artist a powerful model of what it means to build a practice anchored in intention and vision.Caroline brings a rich, critical perspective to her work. Her art has been exhibited globally—from the Whitney Biennial to the Montreal Museum of Fine Arts and the National Gallery of Canada. Her films have screened at TIFF, Sundance, Berlinale, and beyond. And she's received major accolades, including the Prix Pierre-Ayot, a Sobey Art Award nomination, and a residency with the Cannes Film Festival's Cinefondation.In our conversation, Caroline shares the realities of navigating the art world independently—and speaks candidly about how, as she puts it, “no one tells artists they need to be entrepreneurs too.” Her insights offer powerful takeaways not only for creatives, but for any woman building a business or forging her own path professionally.This conversation airs this week as we get ready to debut our new podcast, Collection'elle, in a few days. This new show aims to encourage women to engage in contemporary art collecting—at a time when women are rising in influence in the art world, yet women artists remain underrepresented in collections. Collection'elle highlights the voices of women artists like Caroline, while also decoding market dynamics through conversations with gallerists, curators, and art-world insiders. Her full interview will continue there, but today, you'll get a first listen to Caroline's story of building a creative practice that's deeply personal, political, and visionary.This season of our podcast is brought to you by TD Canada Women in Enterprise. TD is proud to support women entrepreneurs and help them achieve success and growth through its program of educational workshops, financing and mentorship opportunities! Please find out how you can benefit from their support! Visit: TBIF: thebrandisfemale.com // TD Women in Enterprise: td.com/ca/en/business-banking/small-business/women-in-business // Follow us on Instagram: instagram.com/thebrandisfemale

Ep.240 Rujeko Hockley is the Arnhold Associate Curator at the Whitney Museum of American Art. She co-curated the 2019 Whitney Biennial. Her current project at the Whitney is Amy Sherald: American Sublime. Other projects include Inheritance (2023), 2 Lizards (2022), Jennifer Packer: The Eye Is Not Satisfied With Seeing (2021), Julie Mehretu (2021), Toyin Ojih Odutola: To Wander Determined (2017) and An Incomplete History of Protest: Selections from the Whitney's Collection, 1940-2017 (2017). Previously, she was Assistant Curator of Contemporary Art at the Brooklyn Museum, where she co-curated Crossing Brooklyn: Art from Bushwick, Bed-Stuy, and Beyond (2014) and was involved in exhibitions highlighting the permanent collection as well as contemporary artists. She is the co-curator of We Wanted a Revolution: Black Radical Women, 1965-85 (2017), which originated at the Brooklyn Museum and travelled to three U.S. venues in 2017-18. She serves on the Boards of Art Matters, Institute For Freedoms, and Museums Moving Forward, as well as the Advisory Board of Recess. Photograph by Jody Rogac Whitney Museum ~ https://whitney.org/2019-biennial-curators ~ https://whitney.org/exhibitions/amy-sherald ~ https://whitney.org/exhibitions/amy-sherald-four-ways-of-being ~ https://whitney.org/exhibitions/inheritance ~ https://whitney.org/exhibitions/2-lizards ~ https://whitney.org/exhibitions/jennifer-packer ~ https://whitney.org/exhibitions/julie-mehretu ~ https://whitney.org/press/protest ~ https://whitney.org/exhibitions/toyin-ojih-odutola Time Magazine https://time.com/7210625/rujeko-hockley-hank-willis-thomas-art-inclusivity/ Observer https://observer.com/2025/04/exhibition-amy-sherald-american-sublime-whitney-dinner-opening-party/ Ursula https://www.hauserwirth.com/ursula/inside-the-issue-ursula-issue-11/ Surface Magazine https://www.surfacemag.com/articles/when-i-call-who-listens-rujeko-hockley-excerpt-for-freedoms/# Forbes https://www.forbes.com/sites/natashagural/2025/04/04/amy-sherald-american-sublime-at-the-whitney-re-imagines-american-realism-with-singular-visual-narratives/ M.M.Lafleur https://mdash.mmlafleur.com/most-remarkable-woman-rujeko-hockley/ Frieze https://www.frieze.com/article/rujeko-hockleys-top-picks-frieze-los-angeles-viewing-room-2023 CCL https://www.curatorialleadership.org/participants/ccl-smh-curators-forum/rujeko-hockley/ Artealdia https://www.artealdia.com/News/NEW-APPOINTMENTS-FOR-MARCELA-GUERRERO-AND-RUJEKO-HOCKLEY-AT-THE-WHITNEY-MUSEUM Culture Type https://www.culturetype.com/tag/rujeko-hockley/ artnet https://news.artnet.com/art-world/career-stories-rujeko-hockley-1962842 Athens Now https://athensnowal.net/sharing-the-spotlight/

ContemporaryPerformance.com and the Sarah Lawrence College MFA Theatre Program produce the SLC Performance Lab. During the year, visiting artists to the MFA Theatre Program's Performance Lab are interviewed after leading a workshop with the students. Performance Lab is one of the program's core components, where graduate students work with guest artists and develop performance experiments. Alex Tartarsky is interviewed by Amelia Munson (SLC'26) and Sheridan Merrick (SLC'26) and produced by Julia Duffy (SLC'25) Alex Tatarsky makes performances somewhere in between comedy, poetry, dance-theater, and rant—sometimes with songs. Tatarsky's pieces play with the tension and overlap between written and improvised sequences, careening between known and unknown, set and scored. Drawing on the lineage of the clown, Tatarsky plays with the expectations and power dynamics of a given context, dissolving the fourth wall to respond to what is actually happening in the room, and probing the construction of genre, self, and narrative in real time. Sad Boys in Harpy Land, which premiered in 2023 at Abrons Arts Center in New York, NY, is an adaptation of a German novel about a little boy who wants to change the world through art but isn't very good at it. This narrative collides with other stories of tormented artists during horrific times, moving through the inaction born of anxiety, shame, and overwhelm towards strange and ecstatic modes of re-writing the world together. The performance takes the form of the bildungsroman or development novel—a classic narrative of an individual's linear progress towards becoming a fully integrated member of society—and lets it decay, reveling in the insights of the fragment, the spiral, the wandering, and the broken bits. Sad Boys in Harpy Land was presented again in 2023 by Playwrights Horizons, New York, NY. Tatarsky's other works include MATERIAL, Whitney Biennial, New York, NY (2024); Gnome Core, Glen Foerd, Philadelphia, PA (2023); Dirt Trip, MoMA PS1, Long Island City, NY (2021); Untitled Freakout (Tell Me What To Do), The Kitchen, New York, NY (2021); and Americana Psychobabble, which premiered at La MaMa E.T.C., New York, NY (2016), with subsequent performances as part of the Exponential Festival, Brooklyn, NY (2019); and America(na) to Me, a program celebrating the 90th anniversary season at Jacob's Pillow, Becket, MA (2022). Photo: Maria Baranova

Visit our Substack for bonus content and more: https://designbetterpodcast.com/p/trenton-doyle-hancock Aarron's friend Trenton Doyle Hancock did something remarkable when they were both in the graduate Painting and Drawing program at the Tyler School of Art in Philadelphia—he had work in the Whitney Biennial. It was a bit like winning an Oscar while in acting school, just not something that ever happens. Most people are thrown by early success, but not Trenton. He pressed forward in his studio where he crafted epic stories in large scale paintings that later expanded into installations, sculptures, and performance art. His creative process is unique. Piles of collected objects, receipts, food wrappers, etc find their way into his work where their color, texture and attitude unfold as the fabric of Trenton's universe of heroes, villains, and ancient mysteries. We spoke with Trenton about his neurodivergent approach to the world, how collecting influences his visual sensibilities, and how chaos becomes precise order in his work. At the time of our recording, Trenton had a large show at the Jewish Museum in New York exploring intersecting themes in his work and that of Philip Guston. Bio For nearly two decades, Trenton Doyle Hancock has created a vivid, fantastical universe where autobiographical elements blend seamlessly with references to art history, comics, superheroes, and popular culture. Through paintings, drawings, and expansive installations, Hancock crafts complex narratives exploring themes of good versus evil, infused with personal symbolism and mythology. His work draws stylistically from artists like Hieronymus Bosch, Max Ernst, Henry Darger, Philip Guston, and R. Crumb, integrating text as both narrative driver and visual element. His distinctive storytelling has extended beyond gallery walls into performances, ballet collaborations such as Cult of Color: Call to Color with Ballet Austin, and murals at prominent public spaces including Dallas Cowboys Stadium and Seattle Art Museum's Olympic Sculpture Park. *** Premium Episodes on Design Better This is a premium episode on Design Better. We release two premium episodes per month, along with two free episodes for everyone. Premium subscribers also get access to the documentary Design Disruptors and our growing library of books, as well as our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show. Upgrade to paid ***

In the fourth episode of Season 3, Barbara speaks with Brooklyn-based artist Matthew Ritchie. Working in installation, painting and public art, Matthew draws from ideas as varied as creation myths, particle physics, thermodynamics and art history. His work has been shown around the world, including in the Whitney Biennial and the Venice Biennale of Architecture.

"We're pro-AI and we're pro-consent. Those things don't have to be mutually exclusive." The activists and artists talk about the hot button issues facing AI's governance. The world is deep in the throes of a heightening debate over AI. Just this week, the Vatican published an essay addressing the potential, and risks, of AI in a new high-tech world as well as its intersection with religion and humanity. In politics, figures like Elon Musk are advising citizens that the US government will become increasingly "AI-first," using data about its individuals to make federal decisions. And in the world of culture and the humanities, the alarm has been sounded on AI's ability to both aid in creativity and homogenise the art and music being produced and consumed, raising concerns that much of what's being released is sounding increasingly the same. There are probably no better experts on this far-ranging topic than Holly Herndon and Mat Dryhurst, two Berlin-based academics and artists who have entrenched themselves in the world of AI ethics, advocacy and art for the past two decades. Now married, they come from DIY punk backgrounds, both having lived in the Bay Area pre-tech bubble while Herndon completed a Ph.D in Computer Music at Stanford. Their work is primarily concerned with how AI is governed as it becomes more ubiquitous in our everyday lives, and what its implications are for ownership of AI-generated artworks. In this urgent and timely RA Exchange, the duo talk about their shift closer to the art world following their 2024 exhibition at The Whitney Biennial and their most recent show at Serpentine Gallery in London, The Call, which will close at the end of this month. It's one of many forward-thinking projects they've worked on to move away from the fear narrative dominating dialogue around how AI is influencing art and music, instead showcasing how machine learning can be used to push art forward. They also address their view of socialist democratic values with the rise of the far right, raising a young child and doing work that sits squarely between activism and art. Listen to the episode in full. – Chloe Lula

"We're pro-AI and we're pro-consent. Those things don't have to be mutually exclusive." The activists and artists talk about the hot button issues facing AI's governance. The world is deep in the throes of a heightening debate over AI. Just this week, the Vatican published an essay addressing the potential, and risks, of AI in a new high-tech world as well as its intersection with religion and humanity. In politics, figures like Elon Musk are advising citizens that the US government will become increasingly "AI-first," using data about its individuals to make federal decisions. And in the world of culture and the humanities, the alarm has been sounded on AI's ability to both aid in creativity and homogenise the art and music being produced and consumed, raising concerns that much of what's being released is sounding increasingly the same. There are probably no better experts on this far-ranging topic than Holly Herndon and Mat Dryhurst, two Berlin-based academics and artists who have entrenched themselves in the world of AI ethics, advocacy and art for the past two decades. Now married, they come from DIY punk backgrounds, both having lived in the Bay Area pre-tech bubble while Herndon completed a Ph.D in Computer Music at Stanford. Their work is primarily concerned with how AI is governed as it becomes more ubiquitous in our everyday lives, and what its implications are for ownership of AI-generated artworks. In this urgent and timely RA Exchange, the duo talk about their shift closer to the art world following their 2024 exhibition at The Whitney Biennial and their most recent show at Serpentine Gallery in London, The Call, which will close at the end of this month. It's one of many forward-thinking projects they've worked on to move away from the fear narrative dominating dialogue around how AI is influencing art and music, instead showcasing how machine learning can be used to push art forward. They also address their view of socialist democratic values with the rise of the far right, raising a young child and doing work that sits squarely between activism and art. Listen to the episode in full. – Chloe Lula

James Little (b. 1952, Memphis, TN) holds a BFA from the Memphis Academy of Art and an MFA from Syracuse University. He is a 2009 recipient of the Joan Mitchell Foundation Award for Painting. In addition to being featured prominently in the 2022 Whitney Biennial at the Whitney Museum of American Art in New York, his work has been exhibited extensively in solo and group exhibitions around the world, including at MoMA P.S.1, New York; Crystal Bridges Museum of American Art, Bentonville; Studio Museum in Harlem, New York; St. Louis Art Museum, St. Louis; Virginia Museum of Fine Arts, Richmond; and the Smithsonian Institute, Washington, D.C. In 2022, Little participated in a historic collaboration for Duke Ellington's conceptual Sacred Concerts series at the Lincoln Center, New York, with the New York Choral Society at the New School for Social Research and the Schomburg Center in New York. Recent solo exhibitions include: Petzel, New York (2024); Kavi Gupta, Chicago (2022); Dixon Gallery and Gardens, Memphis (2022); Louis Stern Fine Arts, West Hollywood (2020); and June Kelly Gallery, New York (2018). His paintings are represented in the collections of numerous public and private collections, including the Whitney Museum of American Art, New York; Virginia Museum of Fine Art, Richmond; The Studio Museum, Harlem, New York; The Menil Collection, Houston; Library of Congress, Washington, D.C.; Memphis Brooks Museum of Art, Memphis; Maatschappij Arti Et Amicitiae, Amsterdam; Saint Louis Art Museum, Saint Louis; Everson Museum of Art, Syracuse; New Jersey State Museum, Trenton; Tennessee State Museum, Nashville; and the Newark Museum, Newark. James Little Trophy Wives, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York James Little The Problem with Segregation, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York James Little Mahalia's Wings, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York

Welcome back to ARTMATTERS: The Podcast for Artists:Today we conclude our 3-part conversation with the artist Jeff Way. Jeff has lived and worked in New York's Tribeca neighborhood since 1969. Featured in the 1973 Whitney Biennial and a subsequent solo exhibition, Way's work has been shown at institutions like the New Museum, the Contemporary Arts Museum in Houston, and the ICA Philadelphia. His innovative Chalk Line Paintings, begun in the late 1960s, explore the grid through layered lines of raw pigment, a technique he revisits in his most recent Eccentric Squares series. Jeff's solo exhibition, Then and Now: 1970 to 2024 opened earlier this year with Storage Gallery in New York and was featured in The New York Times and the Brooklyn Rail.In this week's episode, I talk with the Jeff about his journey through expectations and his artistic growth, favorite exhibitions and the importance of continuity, and the ways in which teaching often intersected with his practice. We also discuss  his advice for young artists and what makes a good critique.Enjoy this conversation with the artist Jeff Way.You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM! If you have an any questions you want answered, write in to artmatterspodcast@gmail.comhost: Isaac Mannwww.isaacmann.cominsta: @isaac.mannguest: Jeff Waywww.jeffwayart.cominsta: @jeffwayartThank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music. 

This episode we are thrilled to welcome the inspiring artist Maia Ruth Lee. Maia Ruth Lee's multidisciplinary practice is deeply informed by questions surrounding the self in times of dispersion, mobility, and rootlessness. Using translation as an apparatus, Lee transmutes her works between mediums—photography, video, painting, and sculpture—connecting themes of borders, community, and language with embodiments of carriers, loss, and self-preservation through process and materials. Born in Busan, South Korea, in 1983, Lee grew up in Kathmandu and Seoul, before arriving in New York City in 2011 where she spent over a decade. In 2020 she relocated to Salida, Colorado where she now lives and works. Lee has held solo exhibitions at the Museum of Contemporary Art Denver (CO), Tina Kim Gallery (NY), Francois Ghebaly Gallery (LA), and Jack Hanley Gallery (NY). She has also participated in numerous group exhibitions, including at the Museum of Contemporary Art Denver and the 2019 Whitney Biennial. Most recently, she unveiled her newly commissioned work, The Conveyor (2024), at Prospect 6 in New Orleans. Some artists discussed in this episode: Jeffrey Gibson Carmen Winant

Today on the podcast we continue our conversation with Jeff Way, an artist who has lived and worked in New York's Tribeca neighborhood since 1969. Featured in the 1973 Whitney Biennial and a subsequent solo exhibition there, Way's work has been shown at institutions like the New Museum, the Contemporary Arts Museum in Houston, and the ICA Philadelphia. His innovative Chalk Line Paintings, begun in the late 1960s, explore the grid through layered lines of raw pigment, a technique he revisits in his recent Eccentric Squares series. With works in major museum collections, including the Whitney and the Philadelphia Museum of Art, Way continues to push the boundaries of color, form, and dimensionality.In part two of my conversation with Jeff Way, we delve deeper into the influences and processes that have shaped his artistic career. Jeff reflects on the importance of community and collaboration, sharing how these connections have impacted his work over the years. We discuss his early successes, the confidence they inspired, and how he's navigated both praise and criticism throughout his career. With thoughtful reflections on his legacy, Jeff offers a candid look at the highs and lows of a lifetime dedicated to art. You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM! If you have an any questions you want answered, write in to artmatterspodcast@gmail.comhost: Isaac Mannwww.isaacmann.cominsta: @isaac.mannguest: Jeff Waywww.jeffwayart.cominsta: @jeffwayartThank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music. 

In this episode of Platemark, I interview Cole Rogers, a master printmaker who recently co-founded C&C Editions after his long tenure at Highpoint Center for Printmaking in Minneapolis. Cole talks about his journey into printmaking, his approach to the creative process, and the importance of experimental collaboration with artists. We talk about the mission-driven establishment of Highpoint Center, which he co-founded with Carla McGrath, and which aims to support all stages of an artist's career. We talk about the transition to C&C Editions and establishing a new shop and publishing program. We cover a range of topics from the technical aspects of printmaking to the broader art ecosystem, emphasizing the importance of creativity and exploration in the art world. Episode photo by Joseph D.R. O'Leary   Mungo Thompson (American, born 1969). Pocket Universe (Copper) #16, 2016. Copper blind embossment. 24 x 20 in. Printed and published by Highpoint Center for Printmaking, Minneapolis. Willie Cole (American, born 1955). Five Beauties, 2012. Five intaglio and relief prints. Each: 63 ½ x 22 ½ in. Printed and published by Highpoint Center for Printmaking, Minneapolis. Julie Mehretu (American, born Ethiopia, 1970). Entropia: Construction, 2005. Lithograph with Gampi chine collé. Image: 29 ½ x 39 ½ in.; sheet: 40 x 49 ½ in. Printed and published by Highpoint Center for Printmaking, Minneapolis. Mungo Thompson (American, born 1969). Between Projects, 2011. Handmade pencils. Site-specific installation at Walker Art Center, Minneapolis. Mungo Thompson (American, born 1969). Coat Check Chimes, 2008. Nickel-plated aluminum and steel, 1200 pieces. Site-specific installation at the 2008 Whitney Biennial, New York. Photo: Joanne Kim. James Turrell (American, born 1943). Dividing the Light, 2007. Granite and steel. Pomona College, Claremont, CA. Studio shot, C&C Editions, Minneapolis. USEFUL LINKS www.candceditions.com IG @candceditions IG @cole.rogers.5836 FB https://www.facebook.com/candceditions

Send us a textHappy Thanksgiving and welcome back to another episode of ARTMATTERS!Today on the podcast we start our conversation with Jeff Way, an artist who has lived and worked in New York's Tribeca neighborhood since 1969. Featured in the 1973 Whitney Biennial and a subsequent solo exhibition there, Way's work has been shown at institutions like the New Museum, the Contemporary Arts Museum in Houston, and the ICA Philadelphia. His innovative Chalk Line Paintings, begun in the late 1960s, explore the grid through layered lines of raw pigment, a technique he revisits in his recent Eccentric Squares series. With works in major museum collections, including the Whitney and the Philadelphia Museum of Art, Way continues to push the boundaries of color, form, and dimensionality.On this episode we discuss Jeff's return to his early ideas and techniques, tracing how his style has evolved through changing mediums and approaches. Jeff shares insights into the balance between precision and mistakes in his process, the role of collage and masking tape in his work, and the transparency and layering of color that define his signature aesthetic. We also discuss how he embraces both mess and finesse in his art. From his early artistic influences to his current exploration of grids and eccentric forms, this conversation offers a compelling look into the life and work of a masterful painter and thinker.You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!  If you have an any questions you want answered, write in to artmatterspodcast@gmail.com host: Isaac Mann www.isaacmann.cominsta: @isaac.mann guest: Jeff Way www.jeffwayart.cominsta: @jeffwayartThank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music. 

In 1915, Marcel Duchamp bought a snow shovel at a hardware store in New York City. He inscribed his signature and the date on its wooden handle. On the evening this episode is released, the fourth version of this classic “ready-made,” which he titled “In Advance of the Broken Arm,” will be auctioned off at Christie's during their 20th Century Evening Sale. It's estimated to sell for $2 million to $3 million.How could a simple snow shovel be valued at such a steep price? Was  Duchamp an unmatched genius, or a product of some of the biggest museums' dirtiest little secrets: the results of pure, unadulterated capitalism?Northeastern University professor, essayist, poet, and editor Eunsong Kim has illuminated the underlying influences of industrial capitalism and racism behind some of the most prized museum collections in her new book, The Politics of Collecting: Race and the Aestheticization of Property. She traces how Duchamp was brought to prominence through the patronage of collectors Louise and Walter Arensberg, heirs of a fortune wrought by the steel industry. Their family operated steel mills in the same setting as titans such as Andrew Carnegie and Henry Clay Frick, whose wealth also underlies their own valuable art collections.And as it turns out, the “death of the author,” celebrated in conceptual art like that of Duchamp, is a convenient idea for the ultrawealthy. Devaluing labor pairs well with violent crackdowns on striking workers to deny them adequate pay. Or even Frederick Winslow Taylor's development of “scientific management,” a system that is still cited today but is based on the idealization of the slave plantation.How much of the Modernist archive was canonized by union-busting bosses? How much of conceptual art in the 20th and 21st centuries has been buoyed by the reverence of scientific management? In this episode, Editor-in-chief Hrag Vartanian sits down to talk with Kim about her new volume, which challenges generations of unquestioned received knowledge and advocates for a new vision of art beyond cultural institutions. In the process, they discuss the craft of writing, how a White artist was counted as a Black artist at the 2014 Whitney Biennial, and how Marcel Duchamp got away with selling bags of air.Subscribe to Hyperallergic on Apple Podcasts, and anywhere else you listen to podcasts.—Subscribe to Hyperallergic NewslettersBecome a member

Photo by Brad Trone Maja Ruznic (b. Bosnia and Herzegovina, 1983) fuses personal narrative, psychoanalysis, mythology, and esoteric thought into vivid paintings that hybridize figuration and abstraction. Painting variably with oils and gouache on immense and small scales alike, she extracts order from layers of diluted pigment. Ruznic's practice is informed by her studies, from Slavic shamanism and alchemy to Jungian psychoanalysis and sacred geometry. Imbued with a discordant beauty, her compositions emerge without a premeditated outcome. Ruznic's introspective, mystical approach places her into a lineage of visionary painters including Paul Klee and Hilma af Klint. Ruznic lives in Placitas, New Mexico. Recent solo exhibitions include those held at Karma (New York, 2024, Los Angeles, 2023); Tamarind Institute, Albuquerque (2022); Karma, New York (2022); and Harwood Museum of Art, Taos, New Mexico (2021). Ruznic's work is held in the collections of the Crocker Art Museum, Sacramento, California; Dallas Art Museum; EMMA – Espoo Museum of Modern Art, Espoo, Finland; Harwood Museum of Art, Taos, New Mexico; Jiménez–Colón Collection, Puerto Rico; Portland Art Museum, Oregon; Rachofsky House, Dallas; and San Francisco Museum of Modern Art. Her work was recently on view in the Whitney Biennial 2024: Even Better Than the Real Thing at the Whitney Museum of American Art in New York. Maja Ruznic, On the Other Side, 2023, Oil on canvas, 100 x 150 x 2 1/2 inches, 254 x 381 x 6.35 cm. © Maja Ruznic. Courtesy the artist and Karma Maja Ruznic, Arrival of Wild Gods II, 2023, Oil on canvas, 100 x 150 x 2 1/2 inches, 254 x 381 x 6.35 cm. © Maja Ruznic. Courtesy the artist and Karma Maja Ruznic, Geometry of Sadness, 2023, Oil on canvas, 100 x 150 x 2 1/2 inches, 254 x 381 x 6.35 cm. © Maja Ruznic. Courtesy the artist and Karma Maja Ruznic, Arrangement of a Nervous System, 2023, Gouache on paper, 16 3/8 x 11 5/8 inches, 41.59 x 29.53 cm. 24 x 29 1/4 inches, 60.96 x 74.30 cm (framed). © Maja Ruznic. Courtesy the artist and Karma

The films of Christopher Harris are haunting and cerebral in equal measure—blending the sensorial power of analog avant-garde cinema with a thoroughly researched and deeply felt engagement with African-American history. Starting in 2001 with the 16mm feature still/here, which was also his MFA thesis at the School of the Art Institute of Chicago, Harris has created a rich and versatile body of work that draws on the legacy of the slave trade, the present-day realities of racism and capitalism, and the construction and destruction of urban space. Last week in New York City, Harris celebrated a major career milestone—his latest shorts, Speaking in Tongues: Take One and b/w, screened as part of the 2024 Whitney Biennial, and a weeklong retrospective of his work kicked off at Anthology Film Archives. In the midst of these screenings and speaking engagements, Harris joined Film Comment editors Devika Girish and Clinton Krute to talk about the origins of his filmmaking in his youthful ambition to be musician, his interest in stillness and silence as structuring concepts, and why his work is always as fun as it is challenging and erudite.

Indigenous artist Rose B. Simpson's new public art exhibition, Seed, is now on view at both Madison Square Park and Inwood Hill Park. The installations feature Simpson's sculpture work, which is also on view at this year's Whitney Biennial. There will also be public programs led by Simpson and other indigenous cultural leaders. Simpson joins to discuss her practice alongside Madison Square Park Conservancy curator Brooke Kamin Rapaport. Seed is on view through September 22.

Judith Schaechter:  Stain glass artist that has redefined the scope of contemporary art in both materials and subject matter. She has created a startling body of work, using hi-tech and low tech, if not centuries-old techniques. She has chosen for her subject matter an equally archaic focus that seems to bring the suffering and story telling of ancient religious iconography into the 21st century. Her work can be seen all over the world in major museums and galleries including:  Smithsonian Institution, the Museum of Arts and Design in New York City, the Victoria and Albert Museum in London, and the Fine Arts Museums of San Francisco. Schaechter's Bigtop Flophouse Bedspins appeared in the 2002 Whitney Biennial. She has artwork in the collections of the Metropolitan Museum of Art, the Victoria and Albert Museum, the Hermitage Museum, the Philadelphia Museum of Art,

Ghada Amer was born in Cairo, Egypt in 1963 and moved to Nice, France when she was eleven years old. She remained in France to further her education and completed both of her undergraduate requirements and MFA at Villa Arson École Nationale Supérieure in Nice (1989), during which she also studied abroad at the School of the Museum of Fine Arts in Boston, Massachusetts in 1987. In 1991 she moved to Paris to complete a post-diploma at the Institut des Hautes Études en Arts Plastiques. Following early recognition in France, she was invited to the United States in 1996 for a residency at the University of North Carolina, Chapel Hill. She has since then been based in New York.   Ghada's work is in public collections around the world including The Arab Museum of Modern Art, Doha; the Art Institute of Chicago, Chicago, IL; the Barjeel Art Foundation, Sharjah; the Brooklyn Museum of Art, New York, NY; Centre Georges Pompidou, Paris; Chrysler Museum of Art, Norfolk, VA; Crystal Bridges Museum of American Art, Bentonville, AR; the Guggenheim Museum, Abu Dhabi; the Israel Museum, Jerusalem; the Samsung Museum, Seoul; among others. She is regularly invited to prestigious group shows and biennials-such as the Whitney Biennial in 2000 and the Venice Biennales of 1999 (where she won the UNESCO Prize), 2005 and 2007. She was recognized with a mid-career retrospective at the Brooklyn Museum of Art in New York in 2008 and a larger, more extensive one at the MUCEM and across other venues in Marseille, France in 2022. Amer studied at the Villa Arson École Nationale Supérieure in Nice, France, at the School of the Museum of Fine Arts in Boston, MA, and at the Institut des Hautes Études en Arts Plastiques in Paris. She lives and works in New York.

Episode No. 660 of The Modern Art Notes Podcast is a holiday clips program with artist Kiyan Williams. Williams' work is on view in the 2024 Whitney Biennial, which is at the Whitney Museum of American Art, New York through August 11. On July 6, Art Omi in Ghent, NY will present "Kiyan Williams: Vertigo." It features large-scale works including Vertigo and 2022's Ruins of Empire, a reimagining of Thomas Crawford's Statue of Freedom, which was installed atop the US Capitol dome in 1863. Ruins of Empire debuted at Brooklyn Bridge Park in New York as part of the Public Art Fund's "Black Atlantic" exhibition. The Whitney exhibition was curated by Chrissie Iles and Meg Onli with Min Sun Jeon and Beatriz Cifuentes; the Art Omi show was curated by by Sara O'Keeffe, Senior Curator, with Guy Weltchek. This program was recorded on the occasion of the aforementioned Public Art Fund exhibition and the Hammer Museum's 2022 presentation of “Hammer Projects: Kiyan Williams”, the artist's first solo museum show. Instagram: Kiyan Williams, Tyler Green. 

Episode No. 658 features artists Jes Fan and Emilio Rojas. Fan's work is included in two ongoing -ennials: the 2024 Whitney Biennial, which is at the Whitney Museum of American Art, New York through August 11; and Greater Toronto Art 2024 at the Museum of Contemporary Art, Toronto through July 28. The Whitney exhibition was curated by Chrissie Iles and Meg Onli with Min Sun Jeon and Beatriz Cifuentes; GTA 2024 was organized by Ebony L. Haynes, Toleen Touq, and Kate Wong. Fan's sculptures consider the constructs of race and gender and their relationship to the intersection of biology and identity. As part of his explorations, Fan often incorporates living matter, such hormones, and fluids, such as glass, into his work. Fan's work has been exhibited at the 2022 Venice Biennale, the 2021 New Museum Triennial at the New Museum, New York, the MIT List Visual Arts Center, the Contemporary Arts Center, Cincinnati, and more. As mentioned on the program: Stills from Fan's 2023 video Palimpsest. Byung-Chul Han's book Saving Beauty. Rojas is included in "Descending the Staircase" at the Museum of Contemporary Art Chicago. The exhibition, presented across two floors of the MCA, presents ways in which artist have represented the human body. Curated by Jadine Collingwood and Jack Schneider, it is on view through August 25. Rojas works across disciplines to investigate and reveal sites of knowledge that are rich with historical narrative. His work often specifically addresses colonial histories, and the relationships between those histories and the present. Rojas' work has been exhibited at museums such as the Art Institute of Chicago and Museo Tamayo, Mexico City, and he has participated in festivals and biennials in the US, Europe, and in Asia. As mentioned on the program:  Rojas' GO BACK TO WHERE YOU CAME FROM (Santa Maria); The Columbian half dollar coined for the 1893 World's Columbian Exposition in Chicago.  Instagram: Jes Fan, Emilio Rojas, Tyler Green.

As a multidisciplinary artist, Ghada is as comfortable working with a needle and thread as she is with a paintbrush, or forging steel for sculptures or working on one-of-a-kind garden installations. She began exhibiting her work in the 90s, and her art continues to focus on women equality and female sexuality.  Ghada's work has been shown at the world's finest fairs and exhibition spaces, including, the Whitney Biennial and PS1 Contemporary Art Center in New York, at the Venice Biennale where she won the UNESCO Prize, at the Johannesburg Biennial, and the Istanbul Biennale among many others.  If you've enjoyed Ghada's story and want to hear more, we have a bonus episode for members where she tells me about her artistic process, and what's in her creative inbox. You can subscribe in Apple Podcasts or on our website, and you'll also get extra content from all our previous guests where we offer a deep dive into their worlds. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ep.203 Emanuel Aguilar is a gallerist and independent curator living and working in Chicago, IL. In 2015 he founded PATRON, a contemporary art gallery with a focus on emerging artists and conceptual practice. Previously he was a director at Kavi Gupta Gallery in Chicago and Berlin and a founder of the arts and culture magazine Jettison Quarterly. Aguilar serves on the board of Chicago Artist Coalition and is a member of the Society for Contemporary Art at The Art Institute of Chicago. Photo credit: Erin Morgan Taylor Patron https://patrongallery.com/about LinkedIn https://www.linkedin.com/in/emanuel-aguilar-9819194/ Chicago Gallery News https://www.chicagogallerynews.com/organizations/patron NYTimes https://www.nytimes.com/2024/03/13/arts/design/whitney-biennial-review-museum-art.html Hyperallergic https://hyperallergic.com/877662/first-impressions-from-the-2024-whitney-biennial/ Surface Magazine https://www.surfacemag.com/articles/patron-gallery-chicago-interview/ Brooklyn Rail https://brooklynrail.org/2024/04/artseen/Whitney-Biennial-2024-Even-Better-Than-the-Real-Thing Bay State banner https://www.baystatebanner.com/2024/03/20/noe-martinez-explores-indigenous-ancestry-and-trauma-of-colonialism-in-the-body-remembers/ SETI Org https://www.seti.org/seti-air-newsletter-march-2024 e-flux https://www.e-flux.com/criticism/599131/81st-whitney-biennial-even-better-than-the-real-thing AnOther Magazine https://www.anothermag.com/art-photography/15214/chantal-akerman-exhibition-2023-jeanne-dielman-collier-schorr-carmen-winant Art Basel https://www.artbasel.com/catalog/gallery/3688/Patron?lang=en | https://www.artbasel.com/stories/young-voices-from-the-whitney-biennial-2024 Frieze https://www.frieze.com/gallery/patron | https://www.frieze.com/article/focus-frieze-new-york-stanley-stellar-reverend-joyce-mcdonald The Art Newspaper https://www.theartnewspaper.com/2024/03/21/whitney-biennial-2024-even-better-than-the-real-thing Six Inches From Center https://sixtyinchesfromcenter.org/the-atmosphere-that-holds-us-an-interview-with-brittany-nelson-on-i-cant-make-you-love-me/ Cultured Mag https://www.culturedmag.com/article/2024/03/13/whitney-biennial-new-york-art

If you think it's too late for you to start being an artist, meet these inspiring artists in their 80s that were recently featured in the Whitney Biennial. In this episode, you'll: Learn more about these artists who persevered despite their age Discover the different messages these artists embody through their art Explore the different styles of art they create For full show notes, go to schulmanart.com/308  

I asked that question of Get the Picture author Bianca Bosker on this week's episode of Art Problems. And let me tell you, the answer was every bit as thrilling as asking the question. In Bosker's New York Times bestselling book, she spends five years working at galleries, and artist studios, as well as interviewing the Whitney Biennial curators and spending time working as a guard at museums, all to better understand how to appreciate art. In our interview, we dig a little deeper into the themes of the book, and try to get to the bottom of questions like, Why does art matter? Why is the art world so mysterious? How does a person look at or evaluate art? Tune in, because this is a podcast you will not want to miss!   Relevant links: https://www.goodreads.com/book/show/156741696-get-the-picture

American artist Charles Gaines' body of work engages formulas and systems that interrogate relationships between the objective and the subjective realms. In his drawings, works on paper and photographs he investigates how rule-based processes and systems construct the experiences of aesthetics, politics, and language. By employing multi-layered practices, including images, texts, and grids, as well as working in a serial character, Gaines examines image structures while critically questioning forms of representation.   He recently retired from the CalArts School of Art, where he was on faculty for over 30 years and established a fellowship to provide critical scholarship support for Black students in the M.F.A. program. His work has been the subject of numerous exhibitions in the United States and around the world, most notably at Dia:Beacon, San Francisco Museum of Modern Art, The Studio Museum, Harlem NY, and Hammer Museum, Los Angeles CA. His work has also been presented at the 1975 Whitney Biennial and the Venice Biennale in 2007 and 2015. In addition to his artistic practice, Gaines has published several essays on contemporary art, including Theater of Refusal: Black Art and Mainstream Criticism (University of California, Irvine, 1993) and The New Cosmopolitanism (California State University, Fullerton, 2008). In 2019, Gaines received the 60th Edward MacDowell Medal. He was inducted into the National Academy of Design's 2020 class of National Academicians and the American Academy of Arts and Letters in May 2022. In 2023, he received an honorary doctorate from his alma mater, the Rochester Institute of Technology in New York. He and I spoke about legacy, continuous learning, creating context and systems, paradoxes of perception, feeling versus intellectual exercises in art, the language of art and what is possible, tantric Buddhist art, chance as a method, philosophy of aesthetics, trees, and AI!

For the last 60 years, activist and artist Mary Lovelace O'Neal's bold, large-scale paintings have explored mythology and deeply personal narratives. Now, she has a new solo show at the Marianne Boesky Gallery in Chelsea, which coincides with her inclusion in the 2024 Whitney Biennial. She joins us alongside the gallery's founder Marianne Boesky to discuss the show, titled HECHO EN MÉXICO—a mano.*This episode is guest-hosted by Kousha Navidar

Today, indigenous artist Rose B. Simpson's new public art exhibition, Seed, is now on view at both Madison Square Park and Inwood Hill Park. The installations feature Simpson's sculpture work, which is also on view at this year's Whitney Biennial. There will also be public programs led by Simpson and other indigenous cultural leaders. Simpson joins to discuss her practice alongside Madison Square Park Conservancy curator Brooke Kamin Rapaport. Seed is on view through September 22.

Released on the occasion of the film's inclusion in the 2024 Whitney Biennial, this episode of On Production looks back at the creation of artist Clarissa Tossin's Mojo'q che b'ixan ri ixkanulab' / Antes de que los Volcanes Canten / Before the Volcanoes Sing at EMPAC, which took place over the course of a three-year period. EMPAC's Video Engineer Ryan Jenkins talks with artist Clarissa Tossin and her Director of Photography Jeremy Glaholt about the process of producing the project. They discuss elements of the cinematography; the creation of set elements such as a reflective pool used in the film; and the technical and creative challenges of shifting from a small studio practice to working with a large crew. Mojo'q che b'ixan ri ixkanulab' / Antes de que los Volcanes Canten / Before the Volcanoes Sing takes a sonic approach to the articulation of architectural borrowings by Western architects of indigenous cultural motifs, utilizing 3D-printed replicas of Maya wind instruments from Pre-Columbian collections held in US and Guatemalan museums.

Every two years, the Whitney Museum of American Art returns with its signature and much-anticipated biennial. Founded in 1931, the Whitney Biennial is one of the most historically important art events in the United States, a survey that brings together artists from throughout the country, and more recently, from around the world. Often controversial, the Whitney Biennial is viewed by art fans as more than just a show to enjoy. It is closely scrutinized as a statement about art now. Well, the 2024 edition of the Whitney Biennial has just opened here in New York, with the title “Even Better Than the Real Thing.” It is curated by Meg Olni, a curator-at-large, and Chrissie Iles, a veteran Whitney curator. It features just a little more than 40 artists laid out across the museum's galleries. Artnet's critic Ben Davis has written a take on the 2024 Whitney Biennial for Artnet—and so has Danielle Jackson, a critic and Artnet contributor. So, how does this show feel, how does it stack up to previous editions, and what does it all mean? Two art critics got together to hash it all out.

In episode 2, Annie and Jerry discuss the Cape Town cleanse, swag looting in First Class, and the drunk dialing on Phenergan. Despite facing health issues during the trip and not being able to fully explore the art scene as planned, Jerry shares anecdotes about her experiences, including some of the incredible galleries and art works she encountered while in Cape Town. Jerry and Annie also address an important issue in the art world regarding the fair treatment and timely payment of artists. Upon hearing her (formerly) favorite Cape Town galleries has a reputation for stiffing their artists, the gals discuss the mechanisms that put artists in a vulnerable position to get stiffed by galleries and reflect on the need for proper contracts and legal protection for artists before exhibition sales. Additionally, the ladies touch on the controversy surrounding luxury retailer Hermes and their alleged practice of reserving Birkin bags for high-spending customers comparing and contrasting the Art Market to the luxury retail market. And finally, Jerry takes the opportunity to rip apart Art Speak, again, and Annie talks about the "out of touch" Whitney Biennial currently on view in New York. --- Send in a voice message: https://podcasters.spotify.com/pod/show/jerrygogosian/message

This week: the Whitney Biennial reviewed. Host Ben Luke discusses the show with Ben Sutton, The Art Newspaper's editor, Americas, and the critic Annabel Keenan. Our annual survey of visitor numbers at museums is published in the next print edition of The Art Newspaper and Lee Cheshire, the co-editor of the report, joins us to discuss the findings. And this episode's Work of the Week is Pieter Bruegel the Elder's drawing The Temptation of St Anthony (around 1556). It features in the exhibition Bruegel to Rubens: Great Flemish Drawings, which opens this weekend at the Ashmolean Museum in Oxford, UK. An Van Camp, the curator of the show, discusses this remarkable study.The Whitney Biennial: Even Better than the Real Thing, Whitney Museum of American Art, New York, until 11 August.Bruegel to Rubens: Great Flemish Drawings, Ashmolean Museum, Oxford, UK, 23 March-23 June. Hosted on Acast. See acast.com/privacy for more information.

The 2024 Whitney Biennial has just opened to the public. The biennial is always a must-see exhibition in the New York contemporary art world, and this year it's titled, Whitney Biennial 2024: Even Better Than the Real Thing, featuring work from seventy one artists. Curators Chrissie Iles and Meg Onli joins to discuss the show, which is on view through August 11. 

Enjoy this stained glass panel discussion with top industry professionals and educators Judith Schaechter, Stephen Hartley, Megan McElfresh, and Amy Valuck. Topics addressed include: what is needed in stained glass education; how the massive number of Instagrammers making suncatchers and trinkets affect stained glass; how to promote stained glass in a gallery setting; and how to stay relevant as stained glass artists. The panelists: By single-handedly revolutionizing the craft of stained glass through her unique aesthetic and inventive approach to materials, Judith Schaechter championed her medium into the world of fine art. The content of her work – some of which gives voice to those who experience pain, grief, despair, and hopelessness – resonates with viewers, leaving a profound and lasting impression. Schaechter has lived and worked in Philadelphia since graduating in 1983 with a BFA from the Rhode Island School of Design Glass Program. She has exhibited her glass art widely, including in New York, Los Angeles and Philadelphia, The Hague and Vaxjo, Sweden. She is the recipient of many grants, including the Guggenheim Fellowship, two National Endowment for the Arts Fellowships in Crafts, The Louis Comfort Tiffany Award, The Joan Mitchell Award, two Pennsylvania Council on the Arts awards, The Pew Fellowship in the Arts and a Leeway Foundation grant. Her work is in the collection of the Metropolitan Museum in New York, the Victoria and Albert Museum in London, the Hermitage in Russia, the Philadelphia Museum of Art, The Corning Museum of Glass, The Renwick Gallery of the Smithsonian Institution and numerous other public and private collections. Schaechter's work was included in the 2002 Whitney Biennial, a collateral exhibition of the Venice Biennale in 2012, and she is a 2008 USA Artists Rockefeller Fellow. In 2013 the artist was inducted to the American Craft Council College of Fellows. The Glass Art Society presented Schaechter with a Lifetime Achievement award in 2023, and this year she will receive the Smithsonian Visionary Award. Schaechter has taught workshops at numerous venues, including the Pilchuck Glass School in Seattle, the Penland School of Crafts, Toyama Institute of Glass (Toyama, Japan), Australia National University in Canberra, Australia. She has taught courses at Rhode Island School of Design, the Pennsylvania Academy, and the New York Academy of Art. She is ranked as an Adjunct Professor at The University of the Arts and Tyler School of Art Glass Program, both in Philly . Born in Philadelphia, Stephen Hartley began his craft career working on a variety of historic buildings and monuments throughout the region. In 1999, he moved to South Carolina to attend Coastal Carolina University, where he earned his undergraduate degree in History. He then relocated to Savannah, Georgia, and continued to work in the traditional crafts and conservation fields while attending graduate school. After completing his MFA in Historic Preservation at the Savannah College of Art and Design, Hartley was employed as an instructor at various colleges within the Savannah area. He earned his PhD from the University of York in 2018 where his dissertation thesis studied the historical and modern frameworks of trades training in the US and the UK.  Hartley eventually returned to the Philadelphia area and accepted the position of Head of Building Arts at Bryn Athyn College, where he formulated the first Bachelor's of Fine Arts (BFA) in traditional building within the United States. Hartley, currently an associate professor in Notre Dame's School of Architecture, wants his students to have a deeper appreciation for the work craftspeople do to fulfill an architect's vision—by learning the vocabulary of the trades, understanding their history, and, when possible, trying out the tools. Executive Director of the Stained Glass Association of America (SGAA), Megan McElfresh has dedicated her professional life to community service and the art and science of stained glass. With a background in fine arts and operations management, she joined the Association as a professional member in 2015 and became the Executive Director in the fall of 2017. Growing up in small stained glass studios, McElfresh continued to build on her technical skills in the medium by seeking mentorship opportunities throughout college. Some of the highlights of her glass studies were traveling to Pilchuck Glass School and time spent at the nationally recognized kiln forming resource center, Vitrum Studio.  Prior to working with the SGAA, McElfresh worked in a variety of roles from operations management at a life sciences firm in Washington, D.C. to IT and web support for small non-profit art organizations. In 2011, McElfresh moved from Northern Virginia to Buffalo, New York, and founded her studio, McElf GlassWorks. With a passion for her professional career as well as her new community, she never turned down an opportunity to collaborate with neighborhood teens and local programs to provide enthusiastic and creative educational enrichment. In her personal work, McElfresh uses her artwork in the advocacy of issues she became passionate about during her time working at a forensics laboratory concerning subjects like domestic violence and rape, and DNA backlogs. Her studio work has been featured in the Stained Glass Quarterly, Design NY, The Buffalo News, and Buffalo Rising. Find out more about the SGAA's 2024 conference here: Conference 2024: Sand to Sash | The Stained Glass Association of America Amy Valuck is a stained glass artist and conservator based in Southeastern Pennsylvania, and the current president of the American Glass Guild. She began her apprenticeship in 1998 at The Art of Glass in Media, PA, and in 2014 went on to establish her own studio, Amy Valuck Glass Art, now located in West Chester, PA. Her studio's primary work is the restoration and conservation of historical windows from churches, universities, and private residences. As a conservator she specializes in complex lead work, plated windows, and replication painting. Valuck also maintains a personal art practice, producing autonomous stained glass panels for private commissions and public exhibition, including the AGG's American Glass Now annual exhibit. Her personal work is heavily influenced by the fabrication and painting techniques of historical windows but frequently includes experimental fused glass elements.  Valuck is a graduate of the Rhode Island School of Design, who earned her BFA degree in jewelry and light metals. Her work in jewelry earned awards including the first annual Cartier Prize, and the MJSA (Manufacturing Jewelers and Silversmiths' Association) Award. She has served on the board of directors of the American Glass Guild since 2017 and has participated as a lecturer and instructor at several of the AGG's annual conferences. Registration is now open for the 2024 Grand Rapids conference, July 9 – 14. Find out more about the AGG's 2024 conference here: https://www.americanglassguild.org/events/agg-2024-conference-grand-rapids-mi For further exploration of panel discussion topics: The Campaign for Historic Trades Releases First-of-its-Kind Labor Study on the Status of Historic Trades in America – The Campaign for Historic Trades   

This evening, 21 March '24 6 - 8pm GMT: Artist Talk - Tiona Nekkia McClodden at White Cube Bermondsey, London. Tiona will discuss the impetus of her solo exhibition ‘A MERCY | DUMMY', which spans two discrete bodies of works produced alongside each other. McClodden will explore the impulse to present two bodies of works together for the first time in her career through a choreographed sharing of her collection of archival research, music, video, and texts. Reserve a spot here. MERCY | DUMMY runs until 24 March.Tiona Nekkia McClodden (b.1981, Blytheville, Arkansas) spent her formative years throughout the American South. Trained as a filmmaker, McClodden worked largely within the punk and club scene in Atlanta before moving to Philadelphia in 2006 and expanding her practice to include painting, sculpture, photography and installation.Recent solo exhibitions include Baltimore Museum of Art, Maryland (2023); Kunsthalle Basel, Switzerland (2023); The Shed, New York (2022); 52 Walker, New York (2022); The Triple Deities, Philadelphia, Pennsylvania (2021); and Company Gallery, New York (2019). Selected group exhibitions include Solomon R. Guggenheim, New York (2023–24); El Museo del Barrio in New York (2022–23), touring to Phoenix Art Museum, Arizona (2023) and Museum of Contemporary Art, North Miami, Florida (2023–24); ICA Los Angeles, California (2022); Prospect 5, New Orleans, Louisiana (2021–22); Philadelphia Museum of Art, Pennsylvania (2021); New Museum, New York (2021); Haus der Kulturen der Welt, Berlin (2019); and the Whitney Biennial, New York (2019). Other presentations of her work have been on view at MOCA, Los Angeles, California (2017); MCA Chicago, Illinois (2017); and MoMA PS1, New York (2016). In recent years, McClodden has won prestigious grants and fellowships, including the Warhol Foundation Arts Writers Grant (2022), Princeton Arts Fellowship (2021–23); the Bucksbaum Award, Whitney Museum of American Art (2019); Guggenheim Fellowship in Fine Arts (2019); the Louis Comfort Tiffany Award (2017); and the Pew Fellowship (2016), while running Conceptual Fade, a project gallery and library she founded in 2020 that hosts micro-exhibitions and publications centred on Black art and conceptual practice.Work by McClodden is in the permanent collections of the Baltimore Museum of Art, Maryland; MoMA, New York; Philadelphia Museum of Art, Pennsylvania; and Rennie Museum, Canada.Read Shade Art Review Shade Art Review Series 10 | 20% discount codeShade Podcast InstagramShade Podcast is Executive produced and hosted by Lou MensahMusic King Henry IV for Shade Podcast by Brian JacksonEditing and mixing by Tess DavidsonEditorial support from Anne Kimunguyi Help support the work that goes into creating Shade Podcast. https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

Sam Green (Director | Writer | Editor) is a New York-based documentary filmmaker. His latest film is 32 Sounds. Green's other recent live documentaries include A Thousand Thoughts (with the Kronos Quartet) (2018), The Measure of All Things (2014), The Love Song of R. Buckminster Fuller (with Yo La Tengo) (2012), and Utopia in Four Movements (2010). With all of these works, Green narrates the film in-person while musicians perform a live soundtrack. Green's 2004 feature-length film, The Weather Underground, premiered at the Sundance Film Festival, was nominated for an Academy Award, was included in the Whitney Biennial, and has screened widely around the world. Learn more about Sam: https://samgreen.to/---Learning to Listen with Annea Lockwood by Sam Green Call Zak on the advice show hotline @ 844-935-BEST---Wanna help Zak continue making this show? Become a Best Advice Show Patron @ https://www.patreon.com/bestadviceshow---Share this episode on IG @BestAdviceShow

Nate and Benjamin are back. First to talk about Larry's JMB in LA show, the Vanity Fair Oscar Party, our migration back east and other events of the past week including Christopher Wool's astounding self produced show in the Financial District. We are then joined by cultural critic Dean Kissick to discuss his and our immediate reactions to the 2024 Whitney Biennial ("Even Better Than the Real Thing"). It is a incisive discussion covering what we liked, what we didn't AND what that means... This is a conversation you truly won't want to miss. All that AND MORE on THE ONLY ART PODCAST! --- Support this podcast: https://podcasters.spotify.com/pod/show/benjamin-godsill/support

In honor of the Whitney Biennial, I'm sharing an episode of Pep Talks for Artists on how to work an opening. In this episode Podcast host and producer Amy Talluto talks with Mandy Wilson Rosen about the book "How to Work a Room" by Susan RoAne to see if it jusssttt might have some helpful tips inside for artists. Spoiler alert: It does. It's chock full of helpful tips for surviving an opening —and Amy even found some cocktail party lounge music for the ep. All music is licensed from Soundstripe. For more support with your career join the vvrkshop mailing list.   Relevant links: Buy How to Work a Room on ⁠Amazon⁠ or ⁠Thriftbooks⁠ Print Hoban Press business cards: ⁠https://hobanpress.com/⁠ (PS: Amy uses "the Stoic" calling card-so thicc!) Visit Mandy's website: ⁠https://mandolynwilsonrosen.com/home.html⁠ Visit Amy's website: ⁠https://www.amytalluto.com/⁠ Visit Pep Talks Instagram: ⁠@peptalksforartists⁠ Support Pep Talks on Patreon: https://www.patreon.com/PepTalksforArtists

Asad Raza (born in Buffalo, USA) creates dialogues and rejects disciplinary boundaries in his work, which conceives of art as a metabolic, active experience. Diversion, first shown at Kunsthalle Portikus in 2022, diverted a river through the gallery. Absorption, in which cultivators create artificial soil, was the 34th Kaldor Public Art Project in Sydney (2019), later shown at the Gropius Bau, Berlin (2020) and Ruhrtriennale (2021). In Untitled (plot for dialogue) (2017), visitors played tennis in a sixteenth-century church in Milan. Root sequence. Mother tongue, at the 2017 Whitney Biennial, combines twenty-six trees, caretakers and objects. Schema for a school was an experimental school at the 2015 Ljubljana Graphic Art Biennial. Raza premiered the feature Minor History at the International Film Festival Rotterdam (2019). Other projects take intimate settings: The Bedroom at the 2018 Lahore Biennale; Home Show (2015) at his apartment in New York, where Raza asked artists to intervene in his life; and Life to come (2019) at Metro Pictures, featuring participatory works and Shaker dance.  With Hans Ulrich Obrist, Raza curates exhibitions inspired by Édouard Glissant, including Mondialité (Villa Empain, Brussels), Trembling Thinking (Americas Society, New York), Where the Oceans Meet (MDC Museum of Art and Design, Miami), and This language which is every stone (IMA, Brisbane). Raza will serve as Artistic Director of the upcoming FRONT 2025: Cleveland Triennial of Contemporary Art. Of Pakistani background, Raza studied literature and filmmaking at Johns Hopkins and NYU. Still from Ge, Asad Raza, 2020. Commissioned for The Shape of a Circle in the Mind of a Fish: The Understory of the Understory, Serpentine Galleries. Ge, Asad Raza, 2020. Commissioned for The Shape of a Circle in the Mind of a Fish: The Understory of the Understory, Serpentine Galleries. Asad Raza, Untitled (plot for dialogue), 2017, CONVERSO, Milan Photo Credit: Andrea Rossetti

Paddy Johnson, the Paddy Johnson! The Blogo-sphere legend behind Art F City joins us to talk about how to make the art world better for Artists! Her new-er venture "Netvverk" and the magic that is artists helping artists. Maybe we dish a little on the current state of arts journalism, art ed and which museum sucks at wall labels.   https://www.paddyjohnson.com/   https://netvvrk.art/   https://www.vvrkshop.art/   https://filthydreams.org/2024/01/27/why-do-biennial-curators-still-talk-like-this/   Paddy Johnson is the founder and CEO of VVrkshop, a company that helps artists get the shows, residencies, and grants of their dreams. She is the founding editor of Art F City (2005-2017) and co-founder of the public art initiative PARADE (2018-2020). Her writing has appeared CNN, The New York Times, and New York Magazine. Johnson is best known for her ability to help artists produce their best work.

Welcome back to ARTMATTERS: The Podcast for Artists. Today is the final installment of my conversation with the artist TL Solien. In this last section, TL talks about building his dream studio, selling his dream studio, the best years of his career, dwindling interest, staying afloat, vulnerability, taking things personally, contemplating failure, building paintings in moments of fracture, learning art history late, finding satisfaction, healthy fuel, 30 minutes of joy, scale, notes from an opera, Tex Avery cartoons, how he starts a painting now, being stumped, and problem solving.I'd like to add that I've been receiving a lot of love for the previous parts of this  conversation, and if this means you would like more long-form conversations like this one, please let me know at artmatterspodcast@gmail.com Finally please consider supporting this podcast by donating to ARTMATTERS Patreon. I just set it up and by donating you will help ensure the availability and continuation of these quality conversations.  About:T.L Solien, born in Fargo North Dakota in 1949, received a BA degree in Art from Moorhead State University, Moorhead MN in 1973, and an MFA in Painting and Sculpture from the University of Nebraska-Lincoln in 1977.TL Solien has been  invited to  participate in numerous exhibitions  of National and International magnitude including, the 1983 Whitney Biennial, the 39th  Biennial of American Painting at the Corcoran Museum, Washington, D.C.; Avant-Grade in the 80”s, at the Los Angeles County Museum of Art; The American Artist as Printmaker,   Brooklyn Museum NY; Images and Impressions, Walker Art Center, Minneapolis, MN; and Contemporary Drawings, High Museum of Art, Atlanta, GA. Solien was the subject, recently, of a 25 year retrospective at the Madison Museum of Contemporary Art, Madison WI, entitled “ T.L. Solien: Myths and Monsters", as well as a touring exhibition porganized by the Plains Museum of Fargo North Dakota, entitled "Toward the Setting Sun", comprised of 65 work, and supported by a 200 page catalog published and distributed by the University of Minnesota Press.TL Solien has had approximately 40 solo exhibitions over the last 25 years.TL Solien is represented in numerous corporate and public collections including, The Whitney Museum of American Art, New York; The Art Institute of Chicago, IL; The Walker Art Center, Minneapolis;  High Museum of Art, Atlanta; The Metropolitan Museum, New York; The Tate Modern, London;  The Smithsonian Museum ,Washington D.C.;  The Frederick Weisman Foundation, Los Angeles;  The National Museum of American Art, Washington, D.C.;  The Milwaukee Museum of Art, Milwaukee, WI. and  Madison Museum of Contemporary Art, Madison, WI.   TL Solien is currently represented by Tory Folliard Gallery in Milwaukee, and his most recent solo exhibition was at OTI in Los Angeles, CA. If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!       If you have an any questions you want answered, write in to artmatterspodcast@gmail.com host: Isaac Mannwww.isaacmann.cominsta: @isaac.mann guest: TL Solienhttps://www.solientl.com/insta: @tlsolien

Welcome back to ARTMATTERS: The Podcast for Artists. And we're back with Part 2 of my three-part conversation with Wisconsin-based artist, TL Solien. Today we conclude the exploration of his early (or phase 1) art practice, including a fun description of the origins of his pictographic works. We talk about his early career experiences in visiting and exhibiting in New York City and living for a time in Paris. We discuss family, and home-life, agreements, and finances, the difficulties following the art market crash, and TL's  experience entering the culture of academia. Then we come back around to the concept or self-respect, the second phase of TL's studio practice, collage, Moby Dick, building paintings towards vibration , space, implied linearity and more. As I mentioned last week, I am extremely proud of this interview, and very thankful to my guest for his patience and his willingness to share so much of life with me and the ARTMATTERS listeners. About:T.L Solien, born in Fargo North Dakota in 1949, received a BA degree in Art from Moorhead State University, Moorhead MN in 1973, and an MFA in Painting and Sculpture from the University of Nebraska-Lincoln in 1977.TL Solien has been  invited to  participate in numerous exhibitions  of National and International magnitude including, the 1983 Whitney Biennial, the 39th  Biennial of American Painting at the Corcoran Museum, Washington, D.C.; Avant-Grade in the 80”s, at the Los Angeles County Museum of Art; The American Artist as Printmaker,   Brooklyn Museum NY; Images and Impressions, Walker Art Center, Minneapolis, MN; and Contemporary Drawings, High Museum of Art, Atlanta, GA. Solien was the subject, recently, of a 25 year retrospective at the Madison Museum of Contemporary Art, Madison WI, entitled “ T.L. Solien: Myths and Monsters", as well as a touring exhibition porganized by the Plains Museum of Fargo North Dakota, entitled "Toward the Setting Sun", comprised of 65 work, and supported by a 200 page catalog published and distributed by the University of Minnesota Press.TL Solien has had approximately 40 solo exhibitions over the last 25 years.TL Solien is represented in numerous corporate and public collections including, The Whitney Museum of American Art, New York; The Art Institute of Chicago, IL; The Walker Art Center, Minneapolis;  High Museum of Art, Atlanta; The Metropolitan Museum, New York; The Tate Modern, London;  The Smithsonian Museum ,Washington D.C.;  The Frederick Weisman Foundation, Los Angeles;  The National Museum of American Art, Washington, D.C.;  The Milwaukee Museum of Art, Milwaukee, WI. and  Madison Museum of Contemporary Art, Madison, WI.   TL Solien is currently represented by Tory Folliard Gallery in Milwaukee, and his most recent solo exhibition was at OTI in Los Angeles, CA. If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!       If you have an any questions you want answered, write in to artmatterspodcast@gmail.com  host: Isaac Mannwww.isaacmann.cominsta: @isaac.mann  guest: TL Solien https://www.solientl.com/insta: @tlsolien

Ep.185 features Tariku Shiferaw, a New York based artist who explores mark-making through painting and installation art, addressing issues around space-making within art and societal structures. Select museum exhibitions include The Culture: Hip Hop and Contemporary Art in the 21st Century at Baltimore Museum of Art (2023); You'd Think By Now at Smack Mellon (2022); Men of Change, organized by The Smithsonian Institution, and held at the California African American Museum (CAAM), (2021); Unbound at the Zuckerman Museum of Art (ZMA), (2020); What's Love Got to Do with It? at The Drawing Center (2019); A Poet*hical Wager at the Museum of Contemporary Art Cleveland (2017-2018); and the 2017 Whitney Biennial at the Whitney Museum of American Art, New York. Shiferaw has participated in the Independent Study Program at the Whitney Museum of American Art (2018-2019), in Open Sessions at The Drawing Center (2018-2020) and has been an artist-in-residence at the LES Studio Program in New York City, at the World Trade Center through Silver Art Projects, and at ARCAthens in Greece. Photo credit Christopher Garcia Valle Artist https://www.tarikushiferaw.com/ The Brooklyn Rail (2023) Art in Conversation: Tariku Shiferaw with Charles M. Schultz Artsy (2022) With Spectacular Installations and Abstractions, Artists Redress... NY Times (2022) These Artists' Hunt for Studio Space Ended at The World Trade... The Washington Post (2022) In The Galleries: Connecting Modern Abstraction... LA Times (2022) The Take: The Faces of Frieze... Artsy (2021) The Artsy Vanguard 2021: Tariku Shiferaw Brooklyn Rail (2021) It's a love thang, it's a joy thang Artnet (2021) ‘Joy Can Be an Act of Resistance': Rising-Star Artist Tariku Shiferaw on… Cultured Mag (2021) Five Contemporary Black Artists You Should Know' Art Papers (2020) Tariku Shiferaw Brooklyn Rail (2020) Abstraction in the Black Diaspora Hyperallergic (2020) Black Artists Claim Their Birthright of Abstraction Wallpaper (2020) Five African Artists Demonstrating Creative Resilience in Challenging Times Financial Times (2020) Could the Art World's Experiment with Online Fairs Force A Healthy Rethink? Hyperallergic (2020) What Does It Mean To Exhibit “Black Excellence”? Barron's Penta Magazine (2020) "Contemporary Artists on Art and Society"

This episode marks the second time featuring artist and friend Raven Chacon on Broken Boxes. The first time I interviewed Raven was in 2017, when I visited with him at the Institute of American Indian Arts where he was participating in a symposium on Indigenous performance titled, Decolonial Gestures. This time around, we met up with Raven at his home in Albuquerque, NM where recurring host and artist Cannupa Hanska Luger chatted with Raven for this episode. The conversation reflects on the arc of Ravens practice over the past decade, along with the various projects they have been able to work on together, including Sweet Land (2020), an award-winning, multi-perspectival and site-specific opera staged at the State Historical Park in downtown Los Angeles, for which Raven was composer and Cannupa co-director and costume designer. Raven and Cannupa also reflect on their time together traveling up to Oceti Sakowin camp in support of the water protectors during the resistance of the Dakota Access Pipeline. Raven provides context to his composition Storm Pattern, which was a response to being onsite at Standing Rock, and the artists speak to the long term impact of an Indigenous solidarity gathering of that magnitude. Raven speaks about being named the first Native American composer to win the Pulitzer Prize or Voiceless Mass, and shares the composition's intention and performance trajectory. To end the conversation, Raven shares insight around staying grounded while navigating the pressures of success, travel and touring as a practicing artist, and reminds us to find ways to slow down and do what matters to you first, creatively, wherever possible. Raven Chacon is a Pulitzer Prize-winning composer, performer, and installation artist from Fort Defiance, Navajo Nation. As a solo artist, Chacon has exhibited, performed, or had works performed at LACMA, The Renaissance Society, San Francisco Electronic Music Festival, REDCAT, Vancouver Art Gallery, Haus der Kulturen der Welt, Borealis Festival, SITE Santa Fe, Chaco Canyon, Ende Tymes Festival, and The Kennedy Center. As a member of Postcommodity from 2009 to 2018, he co-created artworks presented at the Whitney Biennial, documenta 14, Carnegie International 57, as well as the two-mile-long land art installation Repellent Fence. A recording artist whose work has spanned twenty-two years, Chacon has appeared on more than eighty releases on various national and international labels. His 2020 Manifest Destiny opera Sweet Land, co-composed with Du Yun, received critical acclaim from the Los Angeles Times, the New York Times, and The New Yorker, and was named 2021 Opera of the Year by the Music Critics Association of North America. Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). Chacon is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, the American Academy's Berlin Prize for Music Composition, the Bemis Center's Ree Kaneko Award, the Foundation for Contemporary Arts Grants to Artists Award (2022) and the Pew Fellow-in-Residence (2022). His solo artworks are in the collectIons of the Whitney Museum of American Art, the Smithsonian's American Art Museum and National Museum of the American Indian, Los Angeles County Museum of Art, Getty Research Institute, the Albuquerque Museum, University of New Mexico Art Museum, and various private collections. Music Featured: Sweet Land, Scene 1: Introduction (feat. Du Yun & Raven Chacon) · Jehnean Washington · Carmina Escobar · Micaela Tobin · Du Yun · Raven Chacon · Lewis Pesacov. Released on 2021-09-24 by The Industry Productions

This year's class of MacArthur Fellows includes three creative leaders from Native America. Dyani White Hawk (Sičáŋǧu Lakota) draws community and family together through contemporary and abstract multidisciplinary art. The Haskell Indian Nations University alumni has showed her work at myriad galleries including The Whitney Biennial in New York City. Patrick Makuakāne (Kanaka Maoli) is the founder and director of Nā Lei Hulu i ka Wēkiu, a hula company and cultural organization. Makuakāne is a kumu hula, a master teacher of hula, who's work connects and promotes contemporary Hawaiian hula, music, and culture while challenging stereotypes and taking back Hawaiian narratives. And Raven Chacon (Diné), Pulitzer Prize-winning composer, who, as an artist, explores the relationships between people, space, and sound by examining the history and theft of land. We'll visit with a couple of this year's MacArthur Fellows and learn more about their work.

Find the transcript and episode notes here: https://designbetterpodcast.com/p/gil-gershoni#details October is dyslexia awareness month, and we were recently introduced to Gil Gershoni, who is on a mission to help us all recognize dyslexia as a creative superpower. Gershoni runs an influential agency that's been reshaping brands with the power of dyslexic design thinking for decades. One in five people have dyslexia, and there are many other kinds of neurodivergent thinkers out there. We hope this bonus episode opens your eyes to other modes of creative thinking. Thanks for listening. Books & Links The Dyslexic Advantage The Bigger Picture Book of Dyslexics and the Things They Do Dyslexic Design Thinking Podcast Bio Gil Gershoni is the founder and creative director of Gershoni Creative in San Francisco and Dallas. For more than 25 years, Gil has worked with clients like Google, Apple, Spotify, Deloitte, Patrón, San Francisco Art Institute, BBC and Nike, and he has presented at the Whitney Biennial, Sundance Film Festival, South by Southwest, Vancouver Institute of Media Arts, Contemporary Jewish Museum and San Francisco Design Week. Gil is an advocate for the reframing of dyslexia as a hyper-ability and regularly speaks on neurodiversity's influence on design thinking. *** Last week we launched DB+, our new premium service that gives you access to ad-free versions of the show released a week early. Subscribers will be invited to AMA (Ask Me Anything) conversations with big names in design and tech from companies like Nike, Netflix, and The New York Times who will field your questions about compelling topics.  Early bird subscribers get 50% off for the first three months. Visit designbetter.plus to learn more and subscribe. *** isiting the links below is one of the best ways to support our show: American Giant: Makers of the best hoodie on the planet, their clothing is American-made, ethically produced, and built to last. What more could you ask for? Save 20% off your first order with American Giant using our promo code DESIGNBETTER at checkout. dbtr.co/americangiant Heath Ceramics: We love Heath Ceramics. They're the types of objects you pass on from generation to generation, the kind of gift you bring to a wedding, or the dishes that you'd want to put on a beautiful Thanksgiving table: dbtr.co/heathceramics Methodical Coffee: Roasted, blended, brewed, served and perfected by verified coffee nerds

Fred Tomaselli has shown his work in museums, biennials and galleries around the world, including MoMA, MoCA, the MET and SFMoMa. Biennials include the Whitney Biennial, Berlin Biennial, and the Lyon Biennial. Solo museum shows include the Whitney Museum at Philip Morris, The Aspen Art Museum, The Brooklyn Art Museum, and the Orange County Art Museum. Tomaselli is known for his intricate, engulfing images of earthly and cosmic realms made by suspending collage and painted imagery as well as an unorthodox array of real-world materials in thick layers of clear, epoxy resin. These works on wood panels mix snippets of botanical, ornithological and anatomical illustrations cut from books and magazines, prescription pills, medicinal herbs and psychoactive plants with the artist's own designs. Tomaselli sees his mixture of psychedelic imagery and substances as windows into hallucinatory universes: “It is my ultimate aim to seduce and transport the viewer into the space of these pictures while simultaneously revealing the mechanics of that seduction.”He and Zuckerman discuss a shared love of nature, what art can do, what drugs and birding have in common, the shelf life of art, altering perception and dislocated, settling for oblivion, nocturnal experiences, community, a sample choir, and AI!

Ep.161 features Charles Gaines. A pivotal figure in the field of Conceptual Art, Charles Gaines' body of work engages formulas and systems that interrogate relationships between the objective and the subjective realms. Using a generative approach to create series of works in a variety of mediums, he has built a bridge between the early conceptual artists of the 1960s and 1970s and subsequent generations of artists pushing the limits of conceptualism today. Born in 1944 in Charleston, South Carolina, Gaines began his career as a painter, earning his MFA from the School of Art and Design at the Rochester Institute of Technology in 1967. In the 1970s, Gaines' art shifted dramatically in response to what he would later call ‘the awakening.' Gaines' epiphany materialized in a series called Regression (1973 – 1974), in which he explored the use of mathematical and numeric systems to create soft, numbered marks in ink on a grid, with each drawing built upon the calculations of the last. This methodical approach would carry the artist into the subsequent decades of his artistic journey. Working both within the system and against it, Gaines points to the tensions between the empirical objective and the viewers' subjective response. The concept of identity politics has played a central role within Gaines' oeuvre, and the radical approach he employs addresses issues of race in ways that transcend the limits of representation. His recent work continues to use this system with sociopolitical motivations at the forefront. ‘Faces 1: Identity Politics' (2018) is a triptych of colorful portraits of historical icons and thinkers, from Aristotle to Maria W. Stewart and bell hooks. Gaines reduces the images to pixelated outlines, layered among the faces of the preceding portraits to create a palimpsest of faces, employing this system in a critique of representation and the attachment of meaning to images. Gaines lives and works in Los Angeles. He recently retired from the CalArts School of Art, where he was on faculty for over 30 years and established a fellowship to provide critical scholarship support for Black students in the M.F.A. program. A survey exhibition of his work will be on view at the Institute of Contemporary Art, Miami in the fall of 2023. His work has also been the subject of numerous other exhibitions in the United States and around the world, most notably at Dia:Beacon, San Francisco Museum of Art, The Studio Museum, Harlem NY, and Hammer Museum, Los Angeles CA. His work has also been presented at the 1975 Whitney Biennial and the Venice Biennale in 2007 and 2015. In 2022, Gaines produced a new public art project with Creative Time, entitled ‘Moving Chains,' on Governors Island, New York, along with a music performance and a sculptural installation in Times Square. In addition to his artistic practice, Gaines has published several essays on contemporary art, including ‘Theater of Refusal: Black Art and Mainstream Criticism' (University of California, Irvine, 1993) and ‘The New Cosmopolitanism' (California State University, Fullerton, 2008). In 2019, Gaines received the 60th Edward MacDowell Medal. He was inducted into the National Academy of Design's 2020 class of National Academicians and the American Academy of Arts and Letters in May 2022. Headshot ~ Photograph © 2020 Fredrik Nilsen, All Rights Reserved Hauser & Wirth https://www.hauserwirth.com/artists/21845-charles-gaines/ ICA Miami https://icamiami.org/exhibition/charles-gaines-2023/ Times Square Art http://arts.timessquarenyc.org/times-square-arts/projects/at-the-crossroads/the-american-manifest/index.aspx NYTimes https://www.nytimes.com/2022/10/07/arts/design/charles-gaines-governors-island-public-art-chains.html Creative Time https://creativetime.org/american-manifest-part-two/ The Brooklyn Rail https://brooklynrail.org/2023/03/artseen/Charles-Gaines-Southern-Trees Cultured Mag https://www.culturedmag.com/article/2022/12/08/charles-gaines-creative-time-gala-2022

Curran Hatleberg is an American photographer based in Baltimore, MD. He attended Yale University and graduated in 2010 with an MFA. Influenced by the American tradition of road photography, Curran's process entails driving throughout the United States and interacting with various strangers in different locales. His work has been exhibited nationally and internationally, including shows at the Whitney Biennial, MASS MoCA, the International Center of Photography, Rencontres d'Arles, Higher Pictures and Fraenkel Gallery. He is the recipient of various grants, prizes and awards including a 2023 Guggenheim Fellowship. Curran's work is held in  various museum collections, including the Whitney Museum of American Art, SF MoMA, and the Philadelphia Museum of Art. His work has been published frequently in periodicals such as Harpers, The New Yorker, The New York Times Magazine, Vice and The Paris Review. Lost Coast, his first monograph, was released by TBW Books in fall 2016. His second monograph, River's Dream, was published by TBW Books in 2022. Curran has taught photography at numerous institutions, including Yale University and Cooper Union.In episode 208, Curran discusses, among other things:Coming from a big familyHis background in paintingThe benefits of taking a break from education‘Stumbling' into an MFA at YaleHis first book The Lost CoastHis process and saying yes to everythingBeing open and vulnerable to what might happenThe fascination with the USATrying to convey the ‘atmospheric intensity' of Florida in SummerHow he decides where to stop and photographThe ‘origin story' of lending his van and trailer to a strangerHis artist's book, Double RainbowBeing guided by reading fictionReferenced:Peter MatthiessenGeorge Saunders“I hate this idea that's so grounded in the myth of road photographers, or American photography, where it's this fallacy about the singular genius of the person bending the world to their will. It just seems so absurd to me. Chance is everything. I'm constantly levelled by how little control I have when I'm working. I feel insignificant and almost powerless a lot of the time.”