Podcasts about whitney museum

This episode is sponsored by Bluesky CBD, Timeline and AquaTru Shower. Bluesky CBD: Get to sleep faster, experience more restorative sleep and save 30% with code FLIPPING50 at https://www.bluesky-cbd.com/discount/Flipping50. Timeline - Timeline's clinically proven formula is now available at a new, lower price. Mitopure now starts at $99, with the exact same science and formula. And my listeners can still get 20% off when you go to https://timeline.com/FLIPPING50SHOW AquaTru Shower - Unlock your hair & skin's true potential with 20% Off AquaTru Shower using promo code SHFLIPPING50 at https://AquaTru.com Other Episodes You Might Like: Previous Episode - Why Certain Exercise Intensities Work for You (and Others May Not) Next Episode - 25 Simple Rules for Optimal Health, Wellness & Fitness over 50 More Like This - The Link Between Creatine, Brain Health & Longevity Resources: Don't know where to start? Book your Discovery Call with Debra. Leave this session with insight into exactly what to do right now to make small changes, smart decisions about your exercise time and energy. Use Flipping 50 Scorecard & Guide to measure what matters with an easy at-home self-assessment test you can do in minutes. The Forever Young Documentary takes you behind the scenes of longevity — but with a perspective most people are missing.  What really matters when it comes to aging well, from healthspan and biomarkers to connection, purpose, and the surprising science of loneliness? How to actually age with energy, strength, and independence? Is the hype around longevity real? After interviewing top longevity experts around the world, David Donnelly's experience completely changed the way he approaches his own health and future.  Forever Young Documentary is more than a film about living longer; it's a powerful reminder to live better now. My Guest: David Donnelly is an American documentary filmmaker whose work spans classical music, culture, and technology. His award-winning debut feature, Maestro, profiled leading artists including Paavo Järvi, Joshua Bell, Hilary Hahn, and Lang Lang, and was broadcast internationally.  Donnelly's films have screened at venues including the Whitney Museum and the Kennedy Center. In 2021, he co-founded CultureNet and began a documentary trilogy exploring technology's cultural impact, including The Cost of Convenience and Forever Young. He is also a sought-after speaker who has interviewed global thought leaders across more than 30 countries. Questions We Answer in This Episode: [00:11:09] What do people actually mean when they say they're afraid of aging? [00:14:50] What does longevity science get right, and where might pop culture and social media get it wrong? [00:18:28] Where do isolation and loneliness fit into the longevity conversation? [00:24:17] What's the difference between fear of dying and fear of death itself? Is there science that helps us understand whether fear of dying alone is different from fear of death? If this episode made you flip your workout routine — share it!

Episode No. 760 features curators Marko Daniel and Elsa Smithgall, and curator Rachel Vogel. With Matthew Gale and Dolors Rodríguez Roig, Daniel and Smithgall are the co-curators of "Miró and the United States" at the Phillips Collection, Washington, DC. The exhibition explores the exchanges between Joan Miró and the mid-twentieth-century US art scene. Not only did Miró have retrospectives at the Museum of Modern Art, New York in 1941 and 1959, but he traveled to the US seven times between 1947 and 1968, when he made a point of seeing US art and visiting US artists. The exhibition at the Phillips is on view through July 5. The Phillips and the Fundació Joan Miró have published a catalogue; the Phillips offers it for $65. As discussed on the program: Alexander Calder, Calder's Circus, 1926-31; "High Wire: Calder's Circus at 100" at the Whitney Museum of American Art, New York; Joan Miró's Constellations, 1940-41; Joan Miró, Blue Triptych, 1961; and "Miró Mural," exhibition at the Museum of Modern Art, New York, 1948; Vogel is the curator of "Parasol Press: Breaking New Ground," a survey of Parasol Press' 1970-2014 output at the Addison Art Gallery, Andover, Mass. Robert Feldman's Parasol Press came to significance by working with minimalist and conceptualist artist such as Dorothea Rockburne, Sylvia Plimack Mangold, Sol LeWitt, Chuck Close, and more. The exhibition is on view through July 31. Instagram: Rachel Vogel, Tyler Green. Air date: May 28, 2026.

What exactly is a biennale, and why do they matter in the art world? In this solo episode, I'm breaking down one of the art world's most iconic and contested formats, from its origins at the very first Venice Biennale in 1895 to the sprawling, politically charged mega-exhibitions we know today.In the episode, we move through the history of how biennales evolved from nationalist showcases into curator-led events grappling with postcolonial discourse, identity politics, and climate change. I then touch on some of the most influential editions across Venice, São Paulo, Kassel, and beyond. We get into the controversies, including the the Dana Schutz and Open Casket debate at the 2017 Whitney Biennial, the board resignation that followed artist protests in 2019, and the antisemitism scandal that overshadowed Documenta 15 in 2022.Sources:Paintings from the Venice Biennale – ListoryIn 1895, the 1st Venice Biennale faces its first censorship scandal – Arte BrasileirosThe Dana Schutz Emmett Till painting controversy at the Whitney Biennial – The GuardianWarren Kanders resigns from Whitney Museum board – The New York TimesStatement by Taring Padi on dismantling People's Justice – Documenta FifteenWho Killed the Independent Curator? – Frieze- - - - - If you love what we do, support ALL ABOUT ART on PATREON!  ⁠https://www.patreon.com/allaboutart⁠Keep up to date on Instagram @allaboutartpodcast  ⁠https://www.instagram.com/allaboutartpodcast/⁠ ABOUT THE HOST:I am an Austrian-American art historian, curator, and writer. I obtained my BA in History of Art at University College London and my MA in Arts Administration and Cultural Policy at Goldsmiths, University of London. My specializations are in contemporary art and the contemporary art market along with accessibility, engagement, and the demystification of the professional art sector.SOCIALS: Instagram⁠ @alexandrasteinacker https://www.instagram.com/alexandrasteinackerand LinkedIn at ⁠Alexandra Steinacker-Clark⁠ https://www.linkedin.com/in/alexandra-steinacker/This episode is produced at Synergy https://synergy.tech/the-clubhouse/the-podcast-studio/ COVER ART: Lisa Schrofner a.k.a Liser⁠ ⁠⁠https://www.liser-art.com/ and Luca Laurence https://www.graffitikunst.at/Research and Creative Assistant: Iris Epstein

Nicola Tyson was born in 1960 in London, England. She attended Chelsea School of Art, St. Martins School of Art and Central/St. Martins School of Art in London, and currently lives and works in New York. Primarily known as a painter, Tyson has also worked with photography, film, performance and the written word, in addition to running Trial BALLOON, an NYC project space in the early 90s. In 2023, Nicola Tyson: Selected Paintings 1993-2022, the most comprehensive overview of the artist's work to date, was published. In 2011, Tyson released the limited-edition book Dead Letter Men, which is a collection of satirical letters addressing famous male artists. Her unique archive of color photos documenting the London club scene of the late 1970's — Bowie Nights at Billy's Club — was the subject of shows, both in New York and London, in 2012 and 2013. In 2025, Tyson was commissioned for Hayward Gallery's public project banner. Tyson has mounted solo exhibitions at Petzel Gallery, New York (2026, 2025, 2024, 2020, 2016); Nino Mier Gallery, Los Angeles (2024); Nino Mier Gallery, Brussels (2022); Sadie Coles HQ, London (2021, 2017, 2013); The Contemporary Art Museum St. Louis, St. Louis (2017); The Drawing Room, London (2017); Nathalia Obadia, Paris (2015); Susanne Vielmetter Gallery, Los Angeles (2014); White Columns, New York (2012), among others. She has participated in group exhibitions at the Design Museum, London (2025); The Modern Art Museum of Forth Worth, Fort Worth (2022); Art Institute of Chicago, Chicago (2021); Drawing Room, London (2021, 2018); Drawing Center, New York (2020); Whitechapel Gallery, London (2018); Cleveland Institute of Art, Cleveland (2016); Wexner Center for the Arts (2013); and Museum of Modern Art, New York (2012); among others. Tyson's work is included in major collections such as Museum of Modern Art, New York; Whitney Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Philadelphia Museum of Art, Philadelphia; Museum of Contemporary Art, Chicago; UCLA Hammer Museum, Los Angeles; San Francisco Museum of Modern Art, San Francisco; Walker Art Center, Minneapolis; Corcoran Gallery of Art, Washington, D.C.; and Tate Modern, London. Nicola Tyson, Random Attachments, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York. Nicola Tyson Nature Nurture, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York. Nicola Tyson Motherload, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York.

Photographer, director, and producer Mitch Epstein joins PhotoWork with Sasha Wolf to discuss his storied career in photography, environmental activism, and artistic influences. From early inspiration by Garry Winogrand to guidance from John Szarkowski, Epstein reflects on how he evolved into a research-driven, project-based photographer focused on environmental issues. He also discusses his work in film as a production designer and co-producer on Mississippi Masala (1991) and Salaam Bombay! (1988), and shares insights on privilege, longevity, and sustaining a life in photography. https://www.mitchepstein.net Mitch Epstein has photographed the landscape and culture of America for half a century. A graduate of Cooper Union, he became a pioneer of 1970s fine-art color photography.  Epstein has been inducted into the National Academy of Design (2020) and was awarded the Prix Pictet (2011), Berlin Prize (2008), and a Guggenheim Fellowship (2002). His work has been shown and collected by museums worldwide, including New York's Museum of Modern Art, Metropolitan Museum of Art, and Whitney Museum of American Art, the National Gallery in Washington DC, The Art Institute of Chicago, Tate Modern in London, Museum of Modern Art in Paris, Los Angeles's Getty Museum and LACMA, the Amon Carter Museum in Fort Worth, TX, and the San Francisco Museum of Modern Art. Recent exhibitions include “American Nature” (photographs and multi-media installations) at the Gallerie d'Italia museum in Torino, Italy (2024-25); “In India,” (photographs and films) at Les Rencontres d'Arles in the Abbey of Montmajour, Arles, France (2022); and “Property Rights” at The Amon Carter Museum of American Art in Fort Worth, Texas (2020-21). Epstein's seventeen books, mostly published by Steidl Verlag, include Recreation (2022, 2005), Property Rights (2021), New York Arbor (2013), American Power (2009), and Family Business (2004), winner of the Kraszna-Krausz Photography Book Award. Epstein's mixed media work includes films, moving image with sound installations, and performance. In 2013, The Walker Art Center commissioned and premiered a theatrical rendition of his American Power series. Directed by Annie B. Parsons and Paul Lazar, the performance combined original live music by Erik Friedlander and live storytelling by Epstein; and included video, projected photographs, and archival material. In documentary film, Epstein was director of Dad and Retail (2003) and director of photography for India Cabaret (1988). He was production designer and co-producer for the feature films Mississippi Masala (1991) and Salaam Bombay! (1988). Epstein's most recent exhibition, American Nature, assembles three self-contained yet integrated photographic series (Old Growth, Property Rights, American Power); a multi-channel video-sound installation with tonal music by Mike Tamburo and Samer Ghadry filmed performing in the forest (Forest Waves), and a looped projection with music by David Lang, performed by Maya Beiser (Darius Kinsey: Clear Cut). Together these five pieces investigate notions of wilderness and human society; and their both collaborative and troubled co-existence. Epstein lives in New York City and Massachusetts.

This episode is audio from METRO's Digital Culture of Metropolitan New York community event, featuring a presentation by Tara Hart, Head Archivist of the Whitney Museum of American Art. It was recorded on April 8, 2026.

In today's Dispatch, Yasmeen visits a teeny tiny circus at the Whitney Museum of American Art. Calder's Circus! And then, an update on baby elephant Linh Mai at the Smithsonian National Zoo!Yasmeen Khan is a journalist in Brooklyn, New York. She loves learning about the world by interviewing people and asking lots of questions. She also loves to cook and bake, and is famous -- at least among her husband and two daughters -- for her homemade ice cream cakes.Sunday episode of the multi award-winning Yoto Daily - the mini podcast from the people at yotoplay.com.If you loved this episode, download the Yoto app to listen to the rest of the week's Yoto Daily episodes for free.If you want to share your artwork with Jake and Pema, or contribute your own joke for the Friyay jokes round up, check out yoto.space!Did you know you can tune into Yoto Daily for fun facts and trivia, jokes, and riddles each and every day? Access all episodes of Yoto Daily by downloading the Yoto App. You'll find loads of a world of free kids' radio, and you don't need a Yoto Player to use it.Follow us at @yotoplay on Instagram and Facebook! Hosted on Acast. See acast.com/privacy for more information.

Episode 523 / Chenlu Hou & Chiara NoBorn in Shandong, China in 1989, Chenlu Hou is currently based in Providence, RI. She earned her MFA in Ceramics from the Rhode Island School of Design in 2019. Since then, she has completed residencies at Museum of Arts and Design in New York, Penland School of Craft, Houston Center for Contemporary Craft, and Archie Bray Foundation. Her works have been included in exhibitions at Kristen Lorello, New York; YIRI Arts, Taipei City, Taiwan; the Houston Center for Contemporary Craft, Texas; and the Archie Bray Foundation, Helena, MT; among other venues. Hou is currently a resident artist at Harvard Ceramics and a Visiting Critic in Ceramics at the Rhode Island School of Design.Chiara No was born in 1981 in Key West, FL, and currently lives and works in Johnson, VT. She studied Art and Theory at the Glasgow School of Art in 2002-03 and received a BA in Art History from Towson University in 2005 and an MFA from the University of Pennsylvania in 2015. She has been on faculty at School of the Art Institute of Chicago and an instructor at University of Pennsylvania. She has shown at Spring Break New York, NY; MoCA Westport, Westport, CT; Field Projects and Bible, New York, NY; Vox Populi, Philadelphia, PA; EXILE, Vienna, Austria; Johalla Projects, Chicago, IL; and has participated Printed Matter's Art Book Fair in both New York and Los Angeles. Her works on paper are included in the Whitney Museum of American Art's Special Collection, the Walker Art Center's Library and Archives, the Art Institute of Chicago's Joan Flasch Artists' Book Library. Chenlu Hou and Chiara No: What the Hands Remember to Hear. A joint exhibition at the Aldrich Museum of two artists who use ceramic sculpture to explore storytelling and spirituality up through MAY 25, 2026. 

rWotD Episode 3257: Charles Grafly Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Saturday, 4 April 2026, is Charles Grafly.Charles Allan Grafly, Jr. (December 3, 1862 – May 5, 1929) was an American sculptor, and teacher. Instructor of Sculpture at the Pennsylvania Academy of the Fine Arts for 37 years, his students included Beatrice Fenton, Paul Manship, Albin Polasek, and Walker Hancock.He created heroic sculpture for international expositions and war memorials, but also was noted for his small bronzes and portrait busts. His work is in the collections of the Metropolitan Museum of Art, the National Gallery of Art, the Smithsonian American Art Museum, the National Portrait Gallery, the Whitney Museum of American Art, the National Academy of Design, the Museum of Fine Arts Boston, and other museums.This recording reflects the Wikipedia text as of 00:10 UTC on Saturday, 4 April 2026.For the full current version of the article, see Charles Grafly on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Salli.

Episode No. 752 of The Modern Art Notes Podcast features artist Melvin Edwards. Edwards, one of the most important and influential sculptors of his generation, the rare artist whose work simultaneously addressed the past, the present, and the future, died on March 30. He was 88. This program was taped in 2015 when the Nasher Sculpture Center in Dallas opened the major retrospective "Melvin Edwards: Five Decades." It was the first Edwards museum retrospective in 20 years, and the most thorough. "Five Decades" was organized by Catherine Craft. It included a re-creation of Edwards' important 1970 installation of barbed-wire sculptures at the Whitney Museum of American Art, dozens of Edwards' best-known works, his 'lynch fragments' series, and more. The show traveled to the Zimmerli Art Museum at Rutgers and to the Columbus Museum of Art. The show's excellent catalogue was published by the Nasher and appears to have sold out. Amazon offers it used for about $100. The Nasher's website features a Q&A between Craft and Edwards that host Tyler Green mentions on the program. For images, see Episode No. 170.

Laura Parnes is an extremely accomplished filmmaker and artist . (Scroll down for bio—impressive!!) One of the themes in Laura Parnes's work is female adolescence. Here's a quote from an interview with her in ⁠FEMEXFILM Archive⁠: "A really big focus of the work is the romantic vision of a teen peering in on a culture that they haven't personally participated in and how this holds potential for criticality. But, it's really tempered by a desire to gain status, power, and agency. " Bearing that in mind, I wanted to find out about Laura's own upbringing and teen years and how that has influenced her work. It turns out there were about two years in Laura's life that were filled with older friends and drugs. After that she chose to put her energy into art, got accepted to Tyler Art School and the rest is history. Art history to be specific. Laura's work has been clearly ahead of it's time as well as an influence on the period we are living in today. Gen Z has picked up on one of her films from 2017, No Is Yes, depicting two teen girls with a crush on a rockstar they kill accidentally and then mutilate. Clips of it have gone viral on Tik Tok. Please check out her work, if you're not familiar, on her website and Vimeo. BIO:     Laura Parnes' critically acclaimed films and installations fuse comedy with pathos to probe social and political trauma. Informed by traditions and genres in narrative film, video art and queer theater, her work blurs the lines between conventions of storytelling and experimentation. The performers in her projects are often part of a diverse community of artists and musicians, many of whom are responsible for the rich underground scene in NYC, and who have shaped and affected other mainstream art cultures. Laura Parnes has screened and exhibited her work widely in the US and internationally, including: The Wexner Center for the Arts, Columbus, Ohio; The Institute of Contemporary Art University of Pennsylvania, Philadelphia, PA; The International Film Festival Rotterdam, Rotterdam, Netherlands; Deste Foundation for Contemporary Art, Athens, Greece., LOOP Festival, Barcelona, Spain; Light Industry, Brooklyn, NY; Kusthalle Winterhur, Switzerland; Overgaden- Institute for Contemporary Art, Copenhagen, Denmark; iMOCA, Indianapolis, IN; Cinematexas, Austin, TX; Contemporary Art Center, Vilnius, Lithuania; Museo Nacional Centro De Arte Reina Sofia, Madrid; Whitney Museum of American Art (1997 Whitney Biennial), NY; Dunedin Public Art Gallery, New Zealand; PSI Contemporary Art Center MoMA, NY; Miami Museum of Contemporary Art, FL; and Brooklyn Museum, NY. Her solo exhibitions include Pioneer Works, Brooklyn, NY; Burchfield Penney Art Center, Buffalo, NY; Human Resources, LA, CA; Fitzroy Gallery, NYC, NY; LAXArt, LA, CA; Alma Enterprises, London, UK; Locust Projects, Miami, FL; Upstream Gallery, Amsterdam, Holland; Los Angeles Contemporary Exhibitions, LA, CA; Participant Inc, NYC, NY and Deitch Projects, NYC, NY. She has had solo screenings at The MoMA, NYC, NY; The Kitchen, NYC, NY; MoMA PS1, LIC, NY; NYCATE 10-year Anniversary, presented by the School of Art Institute of Chicago and Video Data Bank, Gene Siskel Film Center, Chicago, IL; Pacific Film Archive, Berkeley Art Museum, Berkeley, CA; Vtape, Toronto, Canada; and in a two-person screening at The MoMA, NYC, NY. She was presented by Participant Inc. in a two-person exhibition at No Soul for Sale at X Initiative, NYC, NY.      Parnes is a 2021 MacDowell Fellow, a 2019 Yaddo Artist in Residence, a 2019 Wave Farm Media Arts Awardee, a 2016 Creative Capital Awardee, a 2014 NYFA recipient, a 2013 John Simon Guggenheim Memorial Fellow and has lectured as a visiting artist at numerous institutions including Harvard University, Columbia University and UCLA. She has participated in panels at Yale University, the Solomon R. Guggenheim Museum and MoMA PS1.

Episode No. 751 features artist Kahlil Robert Irving and curator Rebecca Head Trautmann. Irving is included in "Monuments," at the Museum of Contemporary Art, Los Angeles. The exhibition juxtaposes decommissioned Lost Cause monuments with artworks that address the histories the Lost Cause aimed to whitewash. "Monuments" features two Irvings: New Nation (States) Battle of Manassas - 2014, 2024-25; and Viewfinder, 2024 which address the 2014 police killing of Michael Brown Jr. in Ferguson, Missouri and its aftermath. The exhibition, which is on view through May 3, was curated by Hamza Walker, Kara Walker, and Bennett Simpson with Hannah Burstein and Paula Kroll. The museum says that a catalogue is forthcoming. Irving has had solo exhibitions at the Museum of Modern Art, New York, the Walker Art Center, Minneapolis, and at the Contemporary Art Museum Saint Louis; he's been featured in group exhibitions at the Carnegie Museum of Art in Pittsburgh, MASS MoCA in North Adams, Mass., the Whitney Museum of American Art in New York, and more. He was also a guest on Episode No. 591 in 2023. Trautmann is the curator of "Water's Edge: The Art of Truman Lowe" at the National Museum of the American Indian, Smithsonian Institution, Washington, DC. "Water's Edge" is the first career-length survey of Hoocąk (Ho-Chunk) artist. It is on view through January 1, 2027. Smithsonian Books published a catalogue of the exhibition; Amazon and Bookshop offer it for about $33-37. Instagram: Kahlil Robert Irving, Tyler Green. Air date: March 26, 2026.

The real fear behind longevity isn't aging or death, but the possibility of living longer without meaning, connection or purpose. As longevity science accelerates, many people feel more anxiety than hope, driven less by fear of death than by fear of isolation, irrelevance, and dying alone. Today's guest is award-winning filmmaker David Donnelly. His newest documentary is Forever Young. In the film, Donnelly frames longevity and biohacking as a cultural and human story, not an optimization project: Forever Young pairs scientific breakthroughs with questions about relationships, mortality, and social connection, arguing that death still gives life urgency and value and that extending lifespan without strengthening human bonds risks longer lives that feel emptier, not richer. In this view, longevity is not only a biological challenge, but a social one.About David: David Donnelly is an American documentary filmmaker whose work spans classical music, culture, and technology. His award-winning debut feature, Maestro, profiled leading artists including Paavo Järvi, Joshua Bell, Hilary Hahn, and Lang Lang, and was broadcast internationally. He later directed Nordic Pulse and Forte, completing a trilogy that offers an inside view of the classical music world, including stories tied to Estonia's Singing Revolution. Donnelly's films have screened at venues including the Whitney Museum and the Kennedy Center. In 2021, he co-founded CultureNet and began a documentary trilogy exploring technology's cultural impact, including The Cost of Convenience and Forever Young. He is also a sought-after speaker who has interviewed global thought leaders across more than 30 countries.RESOURCES: Website — https://www.foreveryoung.film/Substack — https://foreveryoungfilm.substack.com/Instagram — https://www.instagram.com/foreveryoungdocX — https://x.com/theagingdocFB — https://www.facebook.com/people/Forever-Young-Film/61572955294447/YT — https://www.youtube.com/@ForeverYoung-FilmFilm Trailer - https://www.youtube.com/watch?v=gT2V-USKm6g

Episode No. 749 features curator Mari Carmen Ramírez and Isabelle Frances McGuire. Ramírez is the curator of "Frida: The Making of an Icon" at the Museum of Fine Arts, Houston. The exhibition reveals how Frida Kahlo went from virtually unknown to mainstream audiences at the time of her death in 1954 to becoming famed as both an artist and as a kind of celebrity icon. Among the factors it identifies are North American geopolitics, the role of culture in the promotion of nationhood, tourism, and international trade, and more. "Frida" features more than 30 works by Kahlo and 120 more by five generations of artists she inspired. It is on view at the MFAH through May 17. A fascinating catalogue was published by the MFAH in association with Yale University Press. Amazon and Bookshop offer it for about $60. McGuire is included in the 2026 biennial exhibition at the Whitney Museum of American Art, New York. The show was curated by Marcela Guerrero and Drew Sawyer with Beatriz Cifuentes and Carina Martinez. It's on view through August 23. This segment was taped when McGuire was included in the Museum of Contemporary Art Chicago's "Descending the Staircase" exhibition in 2024. McGuire is a Chicago-based artist whose work considers the body and how our understanding of it can be filtered by video games, film, animatronics, and other technologies. The 2024 MCA Chicago exhibition marked her first inclusion in a museum exhibition; since then McGuire has shown at Artist's Space, New York, and at the Renaissance Society, Chicago. For images see Episode No. 648. Instagram: Isabelle Frances McGuire, Tyler Green.

Photographer and educator Curran Hatleberg returns to PhotoWork with Sasha Wolf to discuss his latest monograph, Blood Green (TBW Books). Hatleberg reflects on how the photobook emerged from images left out of his earlier publication, River's Dream, and how revisiting those omissions opened a new way of thinking about editing, continuity, and the evolving life of a body of work. He speaks about the ethics at the center of his practice, an engagement with people grounded in mutual curiosity and respect, and the role of presence, both with and without the camera. Now balancing his life as an artist, partner, and father, Hatleberg considers how time reshapes practice. The episode concludes with a meditation on art making as a form of self-portraiture, a record of who we were at a given moment. https://curranhatleberg.com https://tbwbooks.com/products/blood-green?_pos=2&_psq=curran&_ss=e&_v=1.0 Curran Hatleberg is a photographer based in Baltimore, MD. His work has been exhibited nationally and internationally, including recent exhibitions at the Philadelphia Museum of Art, the High Museum, MASS MoCA, the International Center of Photography and Higher Pictures. In 2019, Hatleberg was featured in the Biennial at the Whitney Museum of American Art. His works are held in numerous public collections, including the Whitney Museum of American Art, SF MoMA, the Philadelphia Museum of Art and the High Museum of Art among others. Hatleberg is the recipient of a 2023 Guggenheim Fellowship, a 2020 Maryland State Arts Council Grant, a 2015 Magnum Emergency Fund grant, and a 2014 Aaron Siskind Foundation Individual Photographer's Fellowship grant. He has published five books, most recently Blood Green in 2025. Lost Coast, his first monograph, was released by TBW Books in fall 2016, and his second monograph, River's Dream, was published by TBW Books in 2022. Hatleberg has taught photography at numerous institutions, including Cooper Union and Yale University where he is currently a visiting critic in photography. He holds a BA in painting from the University of Colorado, Boulder and an MFA in photography from Yale University.

As the war against Iran instigated last week by Israel and the United States continues to spread through the Middle East, we explore how it affects tourism in the Arabian Gulf, of which art and culture more generally have been a cornerstone. One of The Art Newspaper's Middle East correspondents, Melissa Gronlund, joins Ben Luke to discuss the latest news. The 82nd biennial at the Whitney Museum of American Art in New York opens this weekend and our editor-in-chief in the Americas, Ben Sutton, and Elena Goukassian, our senior editor of museums and heritage, tell us what they thought of it. And this episode's Work of the Week is the Vision of Zacharias in the Temple (1633) by Rembrandt. Researchers at the Rijksmuseum in Amsterdam have demonstrated that the painting, which had previously been documented as a copy of a lost original, is in fact an authentic work by the Dutch master. We speak to Jonathan Bikker, curator of 17th-century Dutch paintings, who was part of the team that secured the attribution to Rembrandt. The picture is now on view to the public at the Rijksmuseum.Whitney Biennial 2026, Whitney Museum of American Art, New York, 8 March-23 AugustRembrandt's The Vision of Zacharias in the Temple is now on view at the Rijksmuseum, Amsterdam.Save up to 50% on The Art Newspaper's annual print and digital package with a new limited-time offer. Subscribe by 19 March to receive the April edition including our annual Visitor Figures guide and a special report on EXPO Chicago. In May, don't miss our Venice Biennale Guide and map to must-see exhibitions and pavilions.www.theartnewspaper.com/subscriptions-MARCH50?promocode=MARCH50&utm_source=podcast&utm_campaign=MARCH50 Hosted on Acast. See acast.com/privacy for more information.

The Whitney Biennial is here. That would be the Whitney Museum's big curated show which every two years brings together dozens of artists, always closely watched by critics and public as a statement about what is important now in art. Hot on its heels, next month, MoMA PS1 is staging "Greater New York." That event happens every five years, bringing together dozens more artists to take the temperature of art in New York. Taína H. Cruz, my guest today, is featured in both these shows at once. For the Whitney, she is even, in a way, the face of the show: a work by Cruz, a green-tinged close-up painting of a grinning child, called I Saw the Future and It Smiled Back, is blown up on a billboard outside the museum in the Meatpacking District. This is a lot of attention for an artist who is relatively young, born in 1998, and just getting her MFA from the famed Yale School of Painting last year. She's worked in a variety of media, but is known now for paintings, often featuring images of Black female figures with a moody, woozy, sometimes unsettled or unsettling atmosphere. Sometimes Cruz works in suggestions of African American and Caribbean folklore, or intimations of horror and fantasy. Sometimes, she's played on the images of celebrities like Halle Berry or Tyra Banks. Sometimes she reworks her own personal photos of neighbors from New York. Since Cruz is an artist that the curators of these big shows are looking to, art critic, Ben Davis, wanted to get a sense of the influences—from art and otherwise— that are shaping her approach to art, and what she makes of all the attention.

Episode No. 747 of The Modern Art Notes Podcast features artist Bethany Collins and curator Edouard Kopp. Collins is included in "Monuments," at the Museum of Contemporary Art, Los Angeles. The exhibition juxtaposes decommissioned Lost Cause monuments with commissioned artworks that address the histories the Lost Cause aimed to whitewash. Collins' contribution to the project is Love is dangerous (2024-25), a sculptural installation that remakes the base of the Stonewall Jackson monument that was installed in Charlottesville, Virginia. The exhibition, which is on view through May 3, was curated by Hamza Walker, Kara Walker, and Bennett Simpson with Hannah Burstein and Paula Kroll. The museum says that a catalogue is forthcoming. On March 5 the Museum of Contemporary Art Denver opens "Bethany Collins: The Deluge," a presentation of Collins works that each address -- and navigate -- an existential storm. Across several media, Collins addresses major literary works such as Herman Melville's Moby Dick, and Sophocles' Antigone -- and the US songbook too. The exhibition was curated by Leilani Lynch and is on view through July 5. Among the many museums presenting solo exhibitions of Collins' work are the Seattle Art Museum, the Peabody Essex Museum, Salem, Mass., the Contemporary Art Museum Saint Louis, the Van Every and Smith Galleries at Davidson College, the Birmingham Museum of Art, and the Jule Collins Smith Museum of Fine Art at Auburn University. Edouard Kopp is the curator of "Wall Drawing Series: Gladys Nilsson" at the Menil Drawing Institute, Houston. The site-specific exhibition features an enormous Nilsson drawing that features fantastical, hybrid beings surrounding one monumental figure engaged in the act of drawing. It's on view through August 9. Nilsson's work has been the subject of dozens of exhibitions, including a 1973 solo exhibition at the Whitney Museum of American Art. Her work is in the collection of museums such as the Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Art Institute of Chicago. Instagram: Bethany Collins, Tyler Green.

Chrissie IlesSeason 4: Episode 3In this episode of Art Movez Podcast, hosts Toni Williams and Eli Kuslansky sit down with Chrissie Iles, the Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art. With a career spanning decades, Chrissie has significantly shaped the contemporary art landscape, co-curating notable Whitney Biennials and major exhibitions. Join us as we explore her insights on the evolving role of art in today's society and the transformative power of artistic dialogue.

A note: On the interview concerning the 3 channel video “Same as me” from 2002 shows an abbreviated day in the life of a total of 18 different versions of the artist. Only viewed three at a time, the possible variations are synchronized across time and space or arise in daydreams of elsewhere or other than. For Campbell, the process of making the video revealed the thesis of the work. “It was very challenging to learn how to reenact my self…. it was hard to keep up with myself.” Beth Campbell, (USA, born in Illinois), demonstrates the inextricable entanglements of past, present, and future through her thought-provoking sculptures, installations, ceramics and works on paper. Equal parts humorous, prescient and morbid, Campbell confronts an overwhelming multiple future, culled from research on the philosophies that fueled the early internet and AI. Campbell is best recognized for her drawings and mobiles that draw from a specific moment in her life, multiplied into a profusion of speculative possibilities. The drawings, each titled with the opening line, “My potential future based on my present circumstances…”, mimic the form of a tree diagram, a graphic structure used to visualize probability and hierarchy. This diagram becomes Campbell's means to channel anxieties about an overwhelmingly multiple future. She began to make these drawings about her life as an artist in New York City in the late 1990's. In them, she suggests taking a moment to look both forward and backwards, taking into account actions and positions and the circumstances that led to them. Beth Campbell earned her BFA from Truman State University in 1993 (Kirksville, MO) and her MFA from Ohio University in 1997 (Athens, OH). She has held over a dozen solo exhibitions at galleries and institutions, including The Aldrich Contemporary Art Museum, Ridgefield, CT (2017); Sculpture Center, Cleveland, OH (2010); “Following Room” at The Whitney Museum of American Art, New York, NY (2007); Kate Werble Gallery, New York, NY (2020, 2017, 2012); the Public Art Fund, New York, NY (2007); White Columns, New York, NY (2000); and Nicole Klagsbrun Gallery, New York, NY (2008, 2005, 2004). Her work has been shown at MoMA PS1, the New Museum of Contemporary Art, the Brooklyn Museum of Art, Artists Space, and the Bloomberg Financial Offices in Conjunction with Sculpture Center. Campbell has also been featured in exhibitions at the Carnegie Museum of Art, (Pittsburgh, PA); Manifesta 7 (Italy); The Andy Warhol Museum, (Pittsburgh, PA); Contemporary Arts Center, (Cincinnati, OH); OK Center, (Linz, AT); and EX3 Centre for Contemporary Art, (Florence, IT). She has a large commission permanently on view in the Landmarks program at the University of Texas at Austin (Austin, TX). Campbell received a Guggenheim Fellowship (2011), a residency at John Michael Kohler Arts Center, Arts/Industry Residency (2010), a Louis Comfort Tiffany Fellowship (2009) a Pollock- Krasner Foundation Grant (2006) and a Rema Hort Mann Foundation Art Grant (2000). She currently lives and works in Brooklyn, NY. Beth Campbell, My Potential Future Based on Present Circumstances (11/3/25), 2025 Pencil on paper 50 × 38 ½ inches (127.00 × 97.79 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography Beth Campbell, There's no such thing as a good decision (fawn), 2025 Powder coated steel rod and wire, enamel paint 40 × 40 × 33 inches (101.60 × 101.60 × 83.82 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography Beth Campbell, lost socks, 2024 Tinted porcelain 2 ¼ × 6 ½ × 6 ¾ inches (5.72 × 16.51 × 17.15 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography

Hey there -- if you subscribed to the Twofivesix podcast, we've made some changes to our focus. I'm working with museums, collections, galleries, and cultural orgs on the same big problems I used to help corporate clients with. Hope you enjoy! What does it actually take to exhibit game-based art in a museum? Beyond the romantic notion of "games as art" lies a complex reality of technical requirements, development timelines, and institutional infrastructure that most cultural organizations simply aren't prepared for.Today, I'm speaking with Theo Triantafyllidis, an artist who builds what he calls "performative systems where natural and synthetic intelligences rehearse their coexistence." Working with games, live simulations, performances, and installations, Theo creates darkly playful procedural worlds that turn phenomena like ecological collapse and networked desire into experiences that can be felt rather than verbally explained.Theo has exhibited at major institutions including the Whitney Museum, Centre Pompidou, and was part of the Venice Biennale's Hyper Pavilion. His work ranges from Pastoral, an intimate anti-game about a muscular orc running through an infinite hayfield, to Feral Metaverse, an ambitious eight-player multiplayer game with a custom medieval catapult rig that's been in development for over three years.In this conversation, we go deep on the practical realities of exhibiting interactive work: Why IT staff aren't the same as technical infrastructure. How institutions fund physical installations but not digital development, or vice versa. Why a game that takes two weeks to build might tour internationally while a three-year project struggles to find the right venue. And what it means when audiences bring their player psychology into the gallery space—that instinct to test boundaries and break systems that makes games fundamentally different from other art forms.If you're a cultural institution thinking about game-based programming, an artist navigating this landscape, or simply curious about what happens when the art world meets interactive media, this conversation offers a rare, unvarnished look at what it really takes to do this work well.(00:00) - The Infrastructure Gap: Why Museums Can't Show Interactive Work (00:43) - Theo Triantafyllidis on Building Performative Systems (01:30) - Beyond IT: What Game-Based Art Actually Requires (03:55) - The Funding Paradox: Digital vs. Physical Production (08:59) - Technical Realities: Maintenance, Testing, and Player Psychology (15:39) - Case Studies: From Two-Week Prototypes to Three-Year Developments (25:41) - Building Institutional Literacy for Game-Based Practice For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

Today on the show I get to spend time with Koyoltzintli. She is an interdisciplinary artist and educator living in Ulster County, New York. She was raised on the Pacific coast and in the Andean mountains of Ecuador. Her work revolves around sound, ancestral technologies, ritual, and storytelling, blending collaborative processes with personal narratives. Nominated for the Prix Pictet in 2019 and 2023, her work has been exhibited at the National Portrait Gallery in Washington, DC, the United Nations, the Parrish Art Museum, Princeton University, the Aperture Foundation in NYC, and Paris Photo. She has had two solo shows at Miyako Yoshinaga Gallery and a solo show at Leila Greiche in 2023. Koyoltzintli has taught at CalArts, SVA, ICP, and CUNY. She has received multiple awards and fellowships, including at the Musée du Quai Branly in Paris, NYFA, We Women, the Latinx Artist Fellowship by the US Latinx Art Forum (USLAF), and most recently, the Anonymous Was a Woman award. Her first monograph, Other Stories, was published in 2017 by Autograph ABP. Her work was featured in the Native issue of Aperture Magazine (no. 240) and included in the book Latinx Photography in the United States by Elizabeth Ferrer, former chief curator at BRIC. She is part of Flow States – LA TRIENAL 2024, El Museo del Barrio's second large-scale survey of Latinx contemporary art.Koyoltzintli has performed at venues such as the Whitney Museum, Wave Hill, Socrates Park, Brooklyn Museum, and Queens Museum. Recently, she performed at Performance Space in NYC, curated by Guadalupe Maravilla, at Dia Chelsea for the closing event of Delcy Morelos' El Abrazo, and at Ann Street Gallery in Newburgh, NY.During our conversation, Koyo shares about her family, her childhood, how her travels with her father and the rooting into her ancestral lands with her mother helped to shape who she is today. We learn about her dear elders who she both photographed and studied with, and how they played a role in the work she does today with clay and indigenous sounds. While Koyo shares some of the stories of her days as a photojournalist, it would seem that we barely scratched the surface of all that flows from and through her. You can follow along with her offerings and creations by way of her website and social media. Stay tuned for details of an upcoming show in April! Here's the info on her Egg Cleansing Ritual at Spiral Mirror on February 16th.Here are your Full Moon vibes.Today's show was engineered by Ian Seda from Radiokingston.org.Our show music is from Shana Falana!Feel free to email me, say hello: she@iwantwhatshehas.org** Please: SUBSCRIBE to the pod and leave a REVIEW wherever you are listening, it helps other users FIND IThttp://iwantwhatshehas.org/podcastITUNES | SPOTIFYITUNES: https://itunes.apple.com/us/podcast/i-want-what-she-has/id1451648361?mt=2SPOTIFY:https://open.spotify.com/show/77pmJwS2q9vTywz7Uhiyff?si=G2eYCjLjT3KltgdfA6XXCAFollow:INSTAGRAM * https://www.instagram.com/iwantwhatshehaspodcast/FACEBOOK * https://www.facebook.com/iwantwhatshehaspodcast

In this episode of The Watchung Booksellers Podcast, author Cleyvis Natera and author/photographer/translator Erika Morillo discuss writing in English and Spanish and the process of translation from one to the other. Cleyvis Natera is the author of Neruda on the Park and The Grand Paloma Resort. She was born in the Dominican Republic, migrated to the United States at ten years old, and grew up in New York City. She holds a BA from Skidmore College and a MFA from New York University. Her writing has won awards and fellowships from the International Latino Book Awards, PEN America, the Bread Loaf Writers' Conference, The Kenyon Review's Writers Workshops, the Vermont Studio Center, the Hermitage Artist Retreat, Rowland Writers Retreat, and the Virginia Center for the Creative Arts. She is currently a Fulbright Specialist. She lives with her husband and two young children in Montclair, NJ.Erika Morillo is a writer, photographer, and translator born and raised in the Dominican Republic and based in Jersey City. Her work focuses on family narratives, identity, and the possibilities of image-text publications. Her photographs have been published and exhibited nationally and internationally, and her books are in the collections at the Whitney Museum of American Art Library, MoMA Archives and Library, The Met Library, and The International Center of Photography Library, among others. She has taught workshops at the Center for Book Arts, International Center of Photography, Columbia University, CHAVÓN School of Design, and Dominican Writers Association. She holds an MA in sociology from The New School for Social Research and an MFA from Image Text Ithaca (now Image Text M.F.A. at Cornell University). Books:A full list of the books and authors mentioned in this episode is available here. Register for Upcoming Events.The Watchung Booksellers Podcast is produced by Kathryn Counsell and Marni Jessup and is recorded at Watchung Booksellers in Montclair, NJ. The show is edited by Kathryn Counsell. Original music is composed and performed by Violet Mujica. Art & design and social media by Evelyn Moulton. Research and show notes by Caroline Shurtleff. Thanks to all the staff at Watchung Booksellers and The Kids' Room! If you liked our episode please like, follow, and share! Stay in touch!Email: wbpodcast@watchungbooksellers.comSocial: @watchungbooksellersSign up for our newsletter to get the latest on our shows, events, and book recommendations!

Episode No. 742 features artist Woody De Othello, and artists Jason Garcia, Michael Namingha, and curator Bess Murphy. The Pérez Art Museum Miami is presenting "Woody De Othello: coming forth by day," a presentation of new ceramic and wood sculptures, tiled wall works, and a large-scale bronze, all of which explore the primordial relationship between body, earth, and spirit. The exhibition was organized by Jennifer Inacio with the support of Fabiana A. Sotillo. It is on view in Miami through June 28 after which it will travel to the Manetti Shrem Museum of Art, University of California, Davis. De Othello's sculpture, painting, and drawing often investigate the still life genre. His previous institutional solo exhibition was at The Bowes Museum in the UK. Museums that have featured his work in group shows include the Metropolitan Museum of Art, New York, the Seattle Art Museum, the University of Michigan Museum of Art, and the Fine Arts Museums of San Francisco. The Whitney Museum of American Art included him in its 2022 biennial. Later this year, his work will be featured in a Public Art Fund solo presentation in Brooklyn's Brooklyn Bridge Park. He is an artist trustee of the San Francisco Museum of Modern Art. Garcia and Murphy are the co-curators of "Tewa Nangeh/Tewa Country" at the Georgia O'Keeffe Museum in Santa Fe. Namingha is among the 13 artists in the exhibition, 12 of whom are from the six Tewa Pueblos of northern New Mexico (Nambé, Ohkay Owingeh, Pojoaque, San Ildefonso, Santa Clara, and Tesuque).  "Tewa Nangeh" presents the work of Tewa artists while highlighting O'Keeffe's erasure of Tewa people. It is on view through September 7. Garcia's work is in the collection of museums such as the Heard Museum in Phoenix, the Art Institute of Chicago, the Nelson-Atkins Museum of Art, Kansas City, and the Smithsonian's National Museum of the American Indian. Namingha's work is also on view through April 5 at the Museum of Indian Arts and Culture, Santa Fe in "Essential Elements: Art, Environment, and Indigenous Futures." The El Paso Museum of Art and the IAIA Museum of Contemporary Native Arts, Santa Fe have featured solo exhibitions of his work; he's been in group shows at museums such as the Minneapolis Institute of Arts, the Metropolitan Museum of Art, New York, and the Hood Museum of Art, Dartmouth College. Instagram: Woody De Othello, Jason Garcia, Michael Namingha, Tyler Green. Air date: January 22, 2026.

Duane Linklater Supplies for the Soul During the opening of Duane Linklater's exhibition mâcistan on 28 November 2025, the performance Supplies for the Soul was acted out by three performers. Listen and enjoy the recording of this unique event. Duane Linklater's work and practice is grounded on an inspective inquiry on the foundations of institutions as they relate to the contemporary life and histories of Indigenous Peoples. His installations often employ paintings, sculptures, readymade objects, personal belongings, printed matter, images and symbols that he collects and accumulates. This process, linked to the concept of the cache – an enclosement, a safekeep – builds the core for a new body of work the artist presents in his exhibition at Secession. During the opening a live act unfolded. Performed by a singer, a guitarist and a drum set, the new score, or musical soundtrack, titled Supplies for the Soul echoes sonic memories tethered to the multifarious histories of community and powerful tenderness of reclaiming agency, art and institutions. Performers: Lili Ojeda, Matevž Počič, and Baj Gostič Arrangement by Rahul Nair   An event organised by the Secession Friends Duane Linklater (born 1976) is Omaskêko Ininiwak from the Moose Cree First Nation. He lives and works in North Bay, Ontario, Canada. Linklater was featured in the 2022 Whitney Biennial: Quiet as It's Kept, at the Whitney Museum of American Art, New York. In 2018, Linklater installed pêyakotênaw—a public artwork comprising three large teepee sculptures—along the High Line in New York. He was the 2016 recipient of the Canada Council for the Arts Victor Martyn Lynch-Staunton Award for Media Art, and the 2013 Sobey Art Award winner. In 2017, Linklater was awarded a public commission for the Don River Valley Park, Toronto in 2017. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Audio Recording: Martin Laumann Audio Editor: Paul Macheck Executive Producers: Jeanette Pacher, Haris Giannouras

Derek Fordjour was born in Memphis, Tennessee to Ghanaian parents. He is the recipient of the 2025 Gordon Parks Foundation Artist Fellowship, the 2023 St. Jude Children's Research Hospital Spirit of the Dream Award, and previously served as the Alex Katz Chair at Cooper Union. He has received public commissions for the Highline, the NYC AIDS Memorial, MOCA Grand Avenue and the MTA's Arts & Design program. Fordjour's work has been reviewed in The New York Times, Financial Times, The Wall Street Journal, and The Los Angeles Times. A monograph of his work will be published by Phaidon in 2027.He is a graduate of Morehouse College in Atlanta Georgia, earned a Master's Degree in Art Education from Harvard University and an MFA in painting from Hunter College. His work is held in the private and public collections of the Metropolitan Museum of Art, Whitney Museum of American Art, Guggenheim Museum, and The Royal Collection in London among others. He is the founder of the Contemporary Arts Memphis.He and Zuckerman discuss his work, particularly his exhibition “Night Song,” identity, memory, and community, how art can evoke emotional responses and create shared experiences, his creative process, the importance of collaboration, his commitment to giving back to the community through his foundation in Memphis, and how art is life!

This episode we are thrilled to be joined by the artist Martine Gutierrez. Martine is a transdisciplinary artist whose work uses photography, video, and performance to examine how identity is constructed and portrayed. Her projects range from billboards and music videos to her celebrated magazine Indigenous Woman, where she takes on every role — artist, subject, and producer — to challenge pop-culture tropes around gender, beauty, and representation.Her work has been shown internationally, including at the 58th Venice Biennale and in exhibitions at the Museum of Modern Art, the Whitney Museum of American Art, LACMA, Crystal Bridges, the Pérez Art Museum, and the Smithsonian American Art Museum. Her work is also held in major collections including MoMA, the Whitney, the Guggenheim, SFMOMA, LACMA, Crystal Bridges, the National Gallery of Art, and the Smithsonian American Art Museum. Martine will be in the 2026 Whitney Biennial.Martine received her BFA from the Rhode Island School of Design and lives and works in New York.Martine is represented by Fraenkel Gallery and Ryan Lee Galleryhttps://fraenkelgallery.com/artists/martine-gutierrez https://ryanleegallery.com/artists/martine-gutierrez/Some artists discussed in this episode:Yoko OnoMarina AbramovićFollow along on Instagram at @artfromtheoutsidepodcasthttps://www.instagram.com/artfromtheoutsidepodcast

What can we truly know about ourselves and our histories in an age of hypervisibility, when algorithms and social structures alike decide not only what is seen but what is pushed into invisibility or irrelevance? On the afternoon of 28 November 2025, Mimi Ọnụọha talked about her exhibition Soft Zeros; what she learned about collecting data and organizing it, about the Convict Leasing system and the impact is has had especially on Black lives in the USA, and about collective forgetting and denial over a 2-year research stretch and in the process of creating the new body of work that is presented in the exhibition. Mimi Ọnụọha Soft Zeros 29.11.2025 – 22.2.2026 In Soft Zeros, Mimi Ọnụọha examines the unreliability of archives and the instability of knowledge, exploring how absence and silence – shaped by algorithmic bias, historical denial, and collective forgetting – become meaningful. She points to what has not been collected, asked, allowed, or represented. More Nigerian-American artist Mimi Ọnụọha's work questions and exposes the contradictory logics of technological progress. Through print, code, data, video, installation, and archival media, Ọnụọha offers new orientations for making sense of the seeming absences that define systems of labor, ecology and relations. Ọnụọha's work has been featured at the Whitney Museum of Art (NY, USA), the Australian Centre for Contemporary Art (AUS), the Mao Jihong Arts Foundation (CN), La Gaitê Lyrique (FR), Gropius Bau (DE), The Photographers Gallery (UK), and Atlanta Contemporary (GA, USA), among others. Her public art engagements have been supported by the Academy of Arts, Berlin (DE), the Royal College of Art (UK), the Rockefeller Foundation (NY, USA), and Princeton University (NJ, USA). Her work is in the collections of the Victoria and Albert Museum (UK). Ọnụọha is a Creative Capital and Fulbright–National Geographic grantee. She is also the co-founder of A People's Guide to Tech, an artist-led organization that makes educational guides and workshops about emerging technology. Jeanette Pacher is a curator at the Vienna Secession since 2007. She is a regular lecturer in the Department of Site-Specific Art at the University of Applied Arts Vienna, and since 2023, a jury member of KÖR – Art in Public Space Vienna. Secession Podcast: Artists features artists exhibiting at the Secession. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Audio Editor: Paul Macheck Executive Producer: Jeanette Pacher

Episode No. 736 features artist Dyani White Hawk. The Walker Art Center in Minneapolis is presenting "Dyani White Hawk: Love Language," a 15-year survey of White Hawk's career. The exhibition spotlights how White Hawk (Sičáŋǧu Lakota) has foregrounded Lakota forms and motifs to challenge prevailing histories and practices around abstract art. The exhibition was curated by Siri Engberg and Tarah Hogue with Brandon Eng. The Walker has published an excellent catalogue; Amazon and Bookshop offer it for around $50. After closing at the Walker on February 15, "Love Language" will travel to the Remai Modern in Saskatoon, Saskatchewan. White Hawk's work is in the collection of institutions such as the Walker, the Solomon R. Guggenheim Museum, New York; the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington; the Museum of Modern Art, New York; and the Whitney Museum of American Art, New York. White Hawk was previously a guest on Episode No. 610 of The MAN Podcast. Instagram: Dyani White Hawk, Tyler Green. Air date: December 11, 2025.

In this episode of PhotoWork with Sasha Wolf, Sasha is joined by photographer, publisher, editor, and educator Nelson Chan. Together, they trace the winding path that led Nelson to his dream job as a professor at the Rhode Island School of Design. Along the way, Nelson reflects on the “guardian angels” who helped him stay the course, the openness that allowed unexpected opportunities to shape his trajectory, and the community of friends and collaborators who eventually inspired the founding of TIS Books. Sasha and Nelson also talk about the value of building connections, putting yourself out there, and treating your career as a marathon rather than a sprint. https://www.nelsonchanphotography.com/ https://www.tisbooks.pub/ Nelson Chan was born in New Jersey to immigrant parents from Hong Kong and Taiwan and has spent most of his life between the States and Hong Kong. Having grown up between two continents, this immigrant experience influences the majority of his work. Nelson received his BFA and MFA from the Rhode Island School of Design and the Hartford Art School, respectively. He has been exhibited nationally and internationally at institutions such as the Museum of Chinese in America, New York, NY; Boston Center for the Arts, Boston, MA; The Print Center, Philadelphia, PA; Kunstlerhaus Bethanien, Berlin, Germany; and 798 Space, Beijing, China. His books are collected in the institutional libraries of The MET, The Guggenheim, SEMOMA, The Whitney Museum, The Harry Ransom Center, and MoMA, among others. Along with his own photographic work, book publishing and education are extensions of, what Nelson refers to as, an industrious studio practice. He is co-founder of TIS books, an independent art book publisher and was production manager at the Aperture Foundation from 2016-19. In 2025, Nelson was awarded tenure at California College of the Arts but ultimately left the Bay Area to teach at the Rhode Island School of Design as an associate professor of photography.

In Part 2 of the Hilde Lynn Helphenstein (Jerry Gogosian) conversation, the discussion turns raw, vulnerable, and deeply structural. Hilde speaks candidly about burnout, public vilification, online pile-ons, and the emotional cost of living as a persona inside an unforgiving attention economy. She describes losing followers overnight, being labeled with extreme political accusations, and watching the art world take visible pleasure in her public failures while remaining silent during her successes. She recounts the personal toll of constant media exposure, professional pressure, and economic precarity: marriage collapse, total exhaustion, and a year-long withdrawal from work following multiple suicide attempts. Jerry, she explains, has evolved from a meme engine into a living, walking performance — where even the most banal moments of daily life become content whether she wants them to or not. The episode confronts what it means to live as a meme in a broken matrix of attention, validation, and misrecognition. The conversation pivots into economics and geography. Drawing on her business school training, Hilde walks through quantitative tightening, interest rates, the collapse of NFTs and crypto, and the bursting of the 2022 speculative bubble. She frames art explicitly as a Veblen good — a luxury asset that fails first when the economy tightens. She argues forcefully that New York is no longer an artist city, but a financialized transaction hub. Instead, she advocates for artists to relocate to affordable cities like Chicago or even small towns, building localized collector bases rather than chasing validation from elite centers. What emerges is a sharp, pragmatic model of survival: cultivate 12 lifelong collectors, embrace regional ecosystems, make work for people you actually live with, and stop imagining museum permanence as the only measure of success. Hilde rejects the mythology of infinite institutional validation, arguing instead for circulation, use, disposal, and lived attachment. The episode closes on the tension between speculation and sustainability, between global markets and local communities, and between career branding and genuine artistic life. Hilde Lynn Helphenstein / Jerry Gogosian https://www.instagram.com/jerrygogosian/ New Art Dealers Alliancehttps://www.newartdealers.org/ John Waters https://www.johnwaters.com/ Peaches (musician/performer) https://peachesmusic.net/ Beeple (Mike Winkelmann) https://www.beeple-crap.com/ Maurizio Cattelan https://www.guggenheim.org/artwork/artist/maurizio-cattelan Brice Marden https://www.tate.org.uk/art/artists/brice-marden-1577 Magnus Resch https://www.magnusresch.com/ Pace Gallery https://www.pacegallery.com/ Roxy Theatre, San Francisco (The Roxie) https://roxie.com/ Soho House https://www.sohohouse.com/ Ice Palace Studios, Miami (Art Fair Venue) https://www.icepalacestudios.com/ New York MTA (Metropolitan Transportation Authority) https://new.mta.info/ Federal Reserve (The Fed) https://www.federalreserve.gov/ Whitney Museum of American Art https://whitney.org/ Chicago, IL https://www.choosechicago.com/ New York City, NY https://www.nyc.gov/ Dahlonega, Georgia https://www.dahlonega.org/ Miami Beach, FL https://www.miamibeachfl.gov/ Basel, Switzerland https://www.basel.com/en  

Episode No. 735 features curators Dan Nadel and Laura Phipps, and curator Alexander J. Noelle. With Elizabeth Sussman and Scott Rothkopf, Nadel and Phipps are the co-curators of "Sixties Surreal" at the Whitney Museum of American Art, New York. The exhibition works to complicate the march of -isms which, outside the academy and too few art museums, has too often ossified into the the era's US art history. "Sixties Surreal" offers some of the ways in which artists working around the US (and not only in New York or for its market) mined surrealist thought and theory to help them reckon with the era's sociopolitical extremes. The exhibition is on view through January 19, 2026. The thought-provoking exhibition catalogue was published by the Whitney. Amazon and Bookshop offer it for about $40-45. Also, Nadel and Phipps have made a 113-song Spotify playlist to accompany the show. The Cleveland Museum of Art's remarkable autumn of major Italian Renaissance presentations continues with Noelle's "Filippino Lippi and Rome," a look at the Florentine's painter's work in and informed by travel to Rome. The impetus for the exhibition was Cleveland's own tondo The Holy Family with Saint John the Baptist and Saint Margaret (ca. 1488-93), a masterpiece and the only known independent work that Filippino produced in Rome. Filippino is the son of the famed Fra Filippo Lippi, and apprenticed and collaborated with Sandro Botticelli before working on his own. "Lippi and Rome" is on view through February 22, 2026. A superb catalogue was published by the museum. Amazon and Bookshop offer it for $40. Several months ago the Cleveland Museum of Art debuted Giambologna's Fata Morgana, a high-profile acquisition of a rare Giambologna marble sculpture. Instagram: Dan Nadel, Laura Phipps, Alexander J. Noelle, and Tyler Green.

Marilyn Minter (b. 1948, USA) is an artist based in New York. Recent solo exhibitions include Marilyn Minter, Lehmann Maupin, Seoul, South Korea (2024). Marilyn Minter, LGDR, New York, NY (2023); Marilyn Minter, Lehmann Maupin, Hong Kong, China (2021); All Wet, Montpellier Contemporary (Mo.Co), Montpellier, France (2021); Smash, MoCA Westport, Westport, CT (2021); Fierce Women, The Cube, Moss Arts Center, Virginia Polytechnic Institute and State University, Blacksburg, VA (2020); Nasty Woman, SCAD Museum of Art, Savannah GA (2020); among others. From 2015 through 2017, her retrospective, Marilyn Minter: Pretty/Dirty, traveled to the Contemporary Arts Museum, Houston (TX); the Museum of Contemporary Art, Denver (CO); the Orange County Museum of Art, Newport Beach (CA); and the Brooklyn Museum, Brooklyn (NY). Her video Green Pink Caviar was on view at The Museum of Modern Art, New York from 2010-2011.Minter is the recipient of numerous prestigious awards, including the Louis Comfort Tiffany Grant (2006) and the Guggenheim Fellowship (1998). Minter's work is in the collections of many museums globally, including the the Museum of Contemporary Art, Los Angeles (CA); San Francisco Museum of Modern Art, San Francisco (CA); (MA); the Museum of Modern Art, New York (NY); the Perez Art Museum, Miami (FL); the Tate Modern, London (U.K); the Solomon R. Guggenheim Museum, New York (NY); and the Whitney Museum of American Art, New York (NY), among many others.She and Zuckerman discussed shaming young and beautiful women, trust, how we take care of ourselves, making things her own, progress, the ability to copy anything, getting rid of narrative, finding out who we are, identifying people's gifts, seeing joy and the love of making, making bad things, the reality of self-doubt, looking for things that bother you, piggy backing, and how hard it is to be alive!

Raina Lampkins-Fielder is the Curator of Souls Grown Deep, a nonprofit that advocates for the artistic recognition and social and economic empowerment of Black artists from the American South. With a distinguished career as an art historian, museum educator, and curator of 20th century and contemporary American Art, focusing on African American creative expression, Lampkins-Fielder has worked for over 20 years in museums and cultural institutions including the Brooklyn Museum, the New Museum of Contemporary Art, the Andy Warhol Museum, and the Whitney Museum of American Art. She has curated and produced many exhibitions, served as a juror for artist residency programs, organized and participated in numerous academic conferences, and spoken widely on audience accessibility to the arts in the US and abroad. She holds a BA in English from Yale University and an MA in the History of Art from the University of Cambridge, England.She and Zuckerman discuss finding solace in museums, assumptions, play as fearlessness, stewardship of precious sharing, saying thank you, vulnerability, lines of life, how art saves lives—including hers, burdens of history, stories of abundance, using sound as a curatorial strategy, being a mom and how that influences her practice, how there is no sound bite for why art matters, how art speaks to the unspeakable, and overjoying in creation!

The Walker Art Center's new exhibit, “Dyani White Hawk: Love Language,” is now open and runs through Feb. 15. The show is White Hawk's largest to date, a milestone in an already distinguished career that includes MacArthur “Genius” and Guggenheim fellowships, and acquisitions by the Whitney Museum of Contemporary Art in New York and the Smithsonian National Museum of the American Indian in Washington D.C.White Hawk reflected on her exhibit's opening weekend in Minneapolis with MPR News host Nina Moini.

Artists, Jennifer Coates, David Humphrey and Catherine Haggarty and are back for Part 3 of our series on Drawing. This time we switched things up and each artist brought both an artwork from art history and a related work of their own to discuss. Get ready to hear some vivid "ekphrasis" on our drawing picks (new vocab word unlocked-thanks, David!).Jennifer brought “The Castle with the Angel” 1863 by Victor Hugo and her own mixed media on yupo drawing “Heads in the Brambles” 2025David brought Odilon Redon's "Self Portrait" 1880 and his own painted drawing "Before the Couch” 2023Catherine brought Catherine Murphy's “Rose's Coloring Book” 2011 and her own wax crayon work "Bus Drawing" 2024Amy brought Paul Klee's "Ugly Angel" 1939 and her own graphite drawing "Reversal (Ingres)" 2024Other artworks mentioned: The Sketchbooks of John Constable, Eugene Delacroix and JMW Turner, Catherine Murphy "In the Grass" 2011, Kerry James Marshall "Untitled" 2009, Paul Klee "Untitled (Last Still Life)" 1940, "Still Ugly Angel" 1940, "Vigilant Angel" 1939, "Bell Angel" 1939, "Doubting Angel" 1939, "Angel in a Crisis II" 1939 , "Mis- Angel " 1939, "Angelus Novus" 1920, "Angel of Care on a Steep Road" 1931 Books mentioned: "Hunchback of Notre Dame" and "Les Miserables" by Victor Hugo, "The Angels of Paul Klee" by Boris Friedewald, "Exploring Masterpieces : a Fact-Filled Coloring Book" 1990Artists mentioned: Victor Hugo, Odilon Redon, Catherine Murphy, Paul Klee, John Constable, Eugene Delacroix, JMW Turner, Kerry James Marshall, Josephine Halvorson, Jasper Johns (his Mind/Mirror retrospective at Whitney Museum), Judy Glantzman, Franz Marc, Jean Auguste Dominique Ingres, Jane Fine, James Esber, Erica Svec, Zachary WollardMore about the speakers:Jennifer Coates: ⁠⁠⁠web⁠⁠⁠ and ⁠⁠⁠IG⁠⁠⁠David Humprhrey: ⁠⁠web⁠⁠ and ⁠⁠IG⁠⁠Catherine Haggarty: ⁠⁠web⁠⁠ and ⁠⁠IG⁠Amy Talluto: web and IGUpcoming exhibitions:Jennifer and David have work at 1Gap Gallery in "2>1" Curated by Michael Holden thru Jan 5, 2026 (Brooklyn)Amy has work in:"Eyes in the Sky" (solo) at theNextWaveGallery at SHOWROOM at Guerra Paint & Pigments curated by Nicole Castaldo thru Oct 31, 2025 (Maspeth-Queens)"Often I am Permitted to Return to a Meadow" at Active Space curated by Patrick Bower and Robert Zurer of Immaterial Projects Nov 7 - Nov 22, 2025 (Bushwick-Brooklyn)"A Gnawing Thought " at Utopia Gallery curated by Mandolyn Wilson Rosen Dec 6 -Jan 24, 2026 (Kingston, NY)"Relic" at Platform Project Space curated by Alyssa Fanning, Michael Lee and Patrick Neal Jan 30-Feb 5, 2026 (Dumbo-Brooklyn)Congrats to Catherine and Andrew Prayzner on their beautiful baby girl, Juliette Margaret!Thank you for listening!All music by Soundstripe----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks Website: ⁠⁠https://www.peptalksforartists.com/⁠⁠Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠⁠Amy's website: ⁠⁠https://www.amytalluto.com/⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

Rewriting Beauty Standards with AI + Breaking Into the Whitney Museum with Gretchen Andrew In this episode of She Who Paints, I'm sitting down with the incredible Gretchen Andrew, an artist and tech visionary whose work is reshaping the conversation around beauty, technology, and societal standards. Recently, two of Gretchen's paintings were collected by the Whitney Museum of American Art in NYC—a monumental achievement for any artist. We dive deep into her mission of using machines and AI to challenge and redefine beauty industry norms, exploring how these technologies are influencing not just aesthetics, but the way society and future generations perceive themselves. Gretchen shares her fascinating process of integrating tech into her art practice, and how she uses it as a tool for empowerment and change. But it's not all about the tech—Gretchen opens up about the mindset work that fueled her journey to the Whitney, the grit it took to face rejection, and how she stayed focused on her greater vision even when the odds felt stacked against her. Whether you're an artist, a creative entrepreneur, or someone curious about the intersection of art, technology, and culture, this episode is packed with inspiration, actionable insights, and a fresh perspective on what it means to create for impact. Tune in to hear: ✨ How Gretchen got her work into one of NYC's top museums ✨ The role of AI in challenging beauty standards and shaping societal norms ✨ Her approach to rejection and staying aligned with her bigger mission This conversation will leave you feeling inspired to think bigger, create boldly, and embrace the power of your unique voice. Listen now wherever you get your podcasts! https://www.gretchenandrew.com Host: Michelle Schultz https://michelleschultzstudio.com Connect with us: https://www.instagram.com/shepaintscollective/ Get the meditative painting workshop here: https://www.michelleschultzstudio.com/products/meditative-painting-digital-workshop

Episode No. 727 is a holiday weekend clips episode featuring artist Andrea Carlson. The Denver Art Museum just opened "Andrea Carlson: A Constant Sky," a mid-career survey. The exhibition spotlights how Carlson, who is Ojibwe and of European settler descent, creates works that challenge the colonial narratives presented by modern artists, museum collections, and cannibal genre horror films, all in ways that challenge and depart from the US landscape tradition. The exhibition was curated by Dakota Hoska, and will remain on view through February 16, 2026. The exhibition catalogue was published by Scala, Amazon and Bookshop offer it for $30-35. Museums that have featured solo exhibitions of Carlson's work include the Smithsonian's National Museum of the American Indian, New York, and the Minneapolis Institute of Art. Her work is in the collection of museums such as the National Gallery of Canada, Ottawa, the Walker Art Center, Minneapolis, the Whitney Museum of American Art, New York, and the Denver Art Museum. She is also the co-founder of the Center for Native Futures in Chicago. This program was taped on the occasion of Carlson's 2024 solo exhibition at the MCA Chicago. For images, please see Episode No. 677. Instagram: Andrea Carlson, Tyler Green.

Gretchen Andrew left Silicon Valley for the art world and now refers to herself as a “Search Engine Artist.” Gretchen uses her experience as a former computer scientist at Google and her artist training in London with Billy Childish to “hack systems of power with art, code, and glitter,” as she states it, and helps make invisible part of technology visible. Her work has been featured in outlets such as The Washington Post, Fortune Magazine, CNN, The Los Angeles Times, and The Financial Times, among others.  In my time with Gretchen, we discuss her latest limited series, entitled Facetune Portraits: Universal Beauty, currently featured at The Whitney Museum of American Art in Manhattan. In this series, and in our time together, Gretchen helps us see how AI is shaping beauty standards, the pressures those standards create, and the resulting invisible scars of these developing technologies. Given the rapid pace and pervasiveness of these technologies' impacts, this conversation is such an important one. I can't wait for you to listen and learn more.**Also, please know that at points this conversation includes some mature themes, in case you'd like to be mindful of when and where you listen to this episode.Buy Melissa L. Johnson's book, Soul-Deep Beauty: Fighting for Our True Worth in a World Demanding Flawless, here. Learn more about Impossible Beauty and join the community here.

  This week, we print big or go home. Bad at Sports cast their eyes to New York from the safe confines of the Chicago Architectural Biennial booth at EXPO 2025 to talk with the legendary Two Palms studio in the guise of Alex Slattery. If you've ever stood slack-jawed in front of a monoprint the size of a small car or a woodblock cut so large it needed its own logistics plan, chances are Two Palms was behind it. Since the 1990s, David Lasry and company have been redefining what printmaking can be—working with artists like Carroll Dunham, Elizabeth Peyton, Mel Bochner, Cecily Brown, Terry Winters, Chris Ofili, Dana Schutz, Richard Prince, Chuck Close, Jeff Koons, and yes, even channeling the ghost of Andy Warhol. From delicate gestures to total madness with ink and paper, the studio's collaborations are as unpredictable as they are radical. We talk risk, scale, failure, and discovery—the alchemy of artist–printer collaborations that make Two Palms a force in contemporary art. Along the way we wander through stories of impossible woodblocks, ink disasters turned into triumphs, and why printmaking might just be the most punk medium of them all. So pour a glass, sharpen your barens, and get ready to nerd out about the future of prints.   Two Palms https://www.twopalms.us/ @twopalmsnyc   Name-Drop  Carroll Dunham — https://www.presenhuber.com/artists/carroll-dunham#tab:slideshow Elizabeth Peyton — https://www.davidzwirner.com/artists/elizabeth-peyton Mel Bochner — http://www.melbochner.net/ Cecily Brown — https://gagosian.com/artists/cecily-brown/ Terry Winters —https://www.terrywinters.org/ Chris Ofili — https://www.davidzwirner.com/artists/chris-ofili/survey Dana Schutz — https://www.davidzwirner.com/artists/dana-schutz Richard Prince — http://www.richardprince.com/ Chuck Close — https://www.pacegallery.com/artists/chuck-close/ Jeff Koons — https://www.jeffkoons.com/ Two Palms — https://www.twopalms.us/ Marilyn Minter — https://www.twopalms.us/featured-works/marilyn-minter Stanley Whitney — https://www.twopalms.us/featured-works/stanley-whitney Ana Benaroya — https://www.twopalms.us/featured-works/ana-benaroya David Paul Lasry — https://www.nga.gov/artists/21067-david-paul-lasry Alex Slattery — https://www.instagram.com/alexslattery/ EXPO CHICAGO - https://www.expochicago.com/ Chicago Architectural Biennial 6 - https://chicagoarchitecturebiennial.org/ Institutions that love these prints: Whitney Museum of American Art — https://whitney.org/ MoMA — https://www.moma.org/ The Met — https://www.metmuseum.org/  

For Episode 16 of Pop Apocalypse, we welcome composer, artist, and media theorist Paul Miller. Miller is best known for his music as DJ Spooky, the avant-garde turntableist who has collaborated with artists ranging from Chuck D to Yoko Ono. He has also re-scored classic films, such as The Cabinet of Dr. Caligari, and his art has been showcased in exhibitions at the Whitney Museum of American Art. In this wide-ranging conversation, we asked Paul to explore the eeriness of life in the digital age. We touch on the perils and possibilities of artificial intelligence, the role of the DJ, Japanese Butoh as a response to nuclear tragedy, re-scoring D.W. Griffith's The Birth of a Nation, and how Einstein, science fiction, and Sun Ra have shaped Miller's work.

Episode 489 / Alexis RockmanBorn in 1962 in New York, Alexis Rockman has depicted a darkly surreal vision of the collision between civilization and nature – often apocalyptic scenarios on a monumental scale – for over three decades. Notable solo museum exhibitions include “Alexis Rockman: Manifest Destiny” at the Brooklyn Museum (2004), which traveled to several institutions including the Wexner Center for the Arts (2004) and the Rhode Island School of Design (2005). In 2010, the Smithsonian American Art Museum organized “Alexis Rockman: A Fable for Tomorrow,” a major touring survey of his paintings and works on paper. Concurrent with Rockman's 2013 exhibition at Sperone Westwater, the Drawing Center mounted “Drawings from Life of Pi,” featuring the artist's collaboration with Ang Lee on the award-winning film Life of Pi. His series of 76 New Mexico Field Drawings was included in “Future Shock” at SITE Santa Fe (2017-18). “Alexis Rockman and Mark Dion: A Journey to Nature's Underworld” was presented at the Bruce Museum, Greenwich, CT (2023) and traveled to the Virginia Museum of Contemporary Art (2024). It will be on view at the Tang Teaching Museum at Skidmore College, Saratoga Springs, NY until 5 January 2025, and at the Palmer Museum of Art at Penn State from August 30th through December 7th. His work is represented in many museum collections, including the Baltimore Museum of Art; Brooklyn Museum; Crystal Bridges Museum of American Art; Grand Rapids Art Museum; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; New Orleans Museum of Art; San Francisco Museum of Modern Art; Smithsonian American Art Museum; Solomon R. Guggenheim Museum; and Whitney Museum of American Art. Rockman's first solo exhibition with Sperone Westwater, “Evolution,” was presented in 1992. He has had subsequent solo exhibitions at the gallery in 2013, 2018, 2020-21 and 2023. He lives and works in Warren, Connecticut.

Every rising generation reinvents the rules of how art works. What are the new new ways of working? What kinds of spaces serve those needs? Art critic Ben Davis keeps coming back to these questions, and it's part of why he decided he wanted to talk to Maya Man. Man got her MFA from the famous Media Art program at the University of California in 2023. She makes art that's fun and very online, looking at the digital world and the way it blurs reality and performance. Right now, her work A Realistic Day in My Life Living in New York City is the first-ever work commissioned by the Whitney Museum for its “On the Hour” program, taking over the museum's website every hour for 30 seconds. Set your clock if you want to catch it. Man is also a scene-maker herself. Davis first heard about her experimental art space, Heart, after it had already closed, earlier this year. But in its brief, frenzied life, it left a big mark. It was a space where a certain kind of experimental online/offline art scene that feels very now started to define itself.

Join us for a conversation with author and new media artist Scott Snibbe. Snibbe will introduce us to the history of his pioneering use of new technology and his exploration of traditional art forms. His artwork has been featured in leading institutions, from MoMA, SFMOMA, and The Whitney Museum of American Art to London's Institute of Contemporary Art, Tokyo's Intercommunications Center, and beyond. Snibbe has collaborated with renowned artists and creators throughout his career, including multiplatinum recording artist Björk on the groundbreaking “app album” Biophilia, filmmaker James Cameron, musician Beck, and composer Philip Glass. He is the author of How to Train A Happy Mind, featuring a forward written by the Dalai Lama. In his latest work, Snibbe draws from centuries-old Tibetan thangka painting techniques he studied in Nepal, which inspired him to explore the intersections of digital media and ancient craftsmanship. At the confluence of technology, traditional painting, and interactive design, Snibbe creates participatory experiences that push the boundaries of contemporary art and invite audiences to engage with it in new and unexpected ways. A Technology & Society Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums. OrganizerGerald Anthony Harris  Learn more about your ad choices. Visit megaphone.fm/adchoices

Lisa Yuskavage creates works that affirm the singularity of the medium of painting while challenging conventional understandings of genres and viewership. At once exhibitionist and introspective, her rich cast of characters and their varied attributes are layered within compositions built of both representational and abstract elements, in which color is the primary vehicle of meaning. Yuskavage's work has been the subject of numerous solo exhibitions, including Lisa Yuskavage: Wilderness, which was on view at the Aspen Art Museum in 2020 and the Baltimore Museum of Art in 2021. In 2015, The Rose Art Museum, Brandeis University, Waltham, Massachusetts, presented Lisa Yuskavage: The Brood, a major survey spanning twenty-five years of the artist's work. The show traveled to the Contemporary Art Museum St. Louis in 2016. Lisa Yuskavage: Drawings just opened at The Morgan Library & Museum and is on view through January 4, 2026.Museum collections which hold works by the artist include the Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington, DC; The Metropolitan Museum of Art, New York; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; San Francisco Museum of Modern Art; and the Whitney Museum of American Art, New York, among others. She and Zuckerman discuss changing the world, vulnerability, why make art, using pushback as an opportunity, pushing against resistance, getting rid of self-doubt, and how Art makes you feel less alone!

In this episode of PhotoWork with Sasha Wolf, Sasha welcomes two extraordinary guests: artist and curator Justine Kurland and Marina Chao, a curator at CPW. Together, they discuss their collaboration on The Rose, an exhibition that explores collage as a feminist form, strategy, and genealogy. Featuring works by over fifty contemporary artists and key figures from the 1960s and 1970s, the exhibition examines collage as both a means of world-building and a survival strategy in times of crisis. Sasha, Justine, and Marina delve into the layered responsibilities of artists and discuss the assumption that interpreting a straightforward photograph is inherently simpler than reading and interpreting conceptual art. https://www.justinekurland.com https://cpw.org/staff/ https://cpw.org/exhibition/the-rose/ Justine Kurland is an artist known for her utopian photographs of American landscapes and the fringe communities, both real and imagined, that inhabit them. Her early work comprises photographs, taken during many cross-country road trips, that counter the masculinist mythology of the American landscape, offering a radical female imaginary in its place. Her recent series of collages, SCUMB Manifesto, continues to make space for women by transforming books by canonized male photographers through destruction and reparation. Kurland's work has been exhibited at museums and galleries in the United States and abroad. Her work is included in permanent collections of the Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum of Art, New York; Museum of Modern Art, New York; Carnegie Museum, Pennsylvania; Getty Museum, California; National Gallery of Art, Washington, D.C.; and the Museum of Fine Arts, Montreal, among others. She works with Higher Pictures in New York. Marina Chao has previously held curatorial positions at the International Center of Photography and the Museum of Modern Art in New York. As assistant curator at ICP she organized the exhibition Multiply, Identify, Her (2018) and contributed to the publication Public, Private, Secret: On Photography and the Configuration of Self (Aperture and ICP, 2018). She was awarded a 2019 Curatorial Research Fellowship from the Andy Warhol Foundation for the Visual Arts for Seeing Meaning, a project exploring the intersections of image, language, and technology.

Episode 478 / Butt JohnsonButt Johnson (b.1979, Ramapo, New York) earned a BFA in painting from RISD and received a Pollock-Krasner Fellowship in 2010. His work is included in the Whitney Museum of American Art in New York, the Spencer Museum of Art in Lawrence, KS and the RISD Museum. He is a founder and partner in the Klaus von Nichtssagend (Neek-saa-gundt) Gallery in New York. He has exhibited at the Luther W. Brady Art Gallery at George Washington University, the Abrons Art Center and CRG Gallery, both in New York.The Canopy Program is now accepting applications for the 2025-2026 cohort cycle -  led by faculty mentors Amir H. Fallah, Sharon Butler, Catherine Haggarty, Meg Lipke, Clare Grill, and Jessica Dickinson. Founder and executive director Catherine Haggarty will be hosting information sessions where all questions can be answered - to RSVP, learn more and apply by July 26thplease visit www.nyccritclub.com www.nyccritclub.comIG is @nyccritclub and @the_canopy_program_

Episode 475 / Banks VioletteBanks Violette is an artist born in Ithaca, NY who lives and works in Ithaca, NY. He recieved his BFA from the School of Visual Arts  and an MFA from Columbia University. He's had numerous solo shows including ones at MoCa, Connecticut, Gladstone Gallery, Blum & Poe, Thaddeus Ropac, Maureen Paley, Team Gallery, Rodolphe Janssen, and the Whitney Museum to name just a few. He's had scores of group shows all over the globe from the Museum of Modern Art to the Warhol Museum and his work is in the collections of The Coppel Foundation, MexicoThe Ellipse Foundation, Portugal, The Centre Pompidou, Paris, France, Frank Cohen Collection, Manchester, England The Jumex Foundation, Mexico, Los Angeles County Museum of Art, Los Angeles, Migros Museum für Gegenwartskunst, Zurich, Switzerland Musée d'Art Moderne et Contemporain, Geneva, Switzerland Museum of Contemporary Art, Los Angeles, Museum of Modern Art, New York, The OverHolland Collection, Amsterdam, The Netherlands The Saatchi Collection, London, UK, The Solomon R. Guggenheim Museum, New York, Frederick R. Weisman Art Foundation, Los Angeles and the Whitney Museum of American Art, New York. 

Merriam-Webster's Word of the Day for May 2, 2025 is: ziggurat • ZIG-uh-rat • noun A ziggurat is an ancient Mesopotamian temple consisting of a pyramidal structure built in successive stages with outside staircases and a shrine at the top. The word ziggurat is also sometimes used for a similarly shaped structure. // Ancient ziggurats were always built with a core of mud brick and an exterior covered with baked brick. They had no internal chambers and were usually square or rectangular. See the entry > Examples: "The Breuer building, the former home of the Whitney Museum on New York's Upper East Side, counts as one of the defining buildings of the brutalist movement. Completed in 1966, it was designed by Marcel Breuer, who envisioned the structure as an inverted ziggurat." — Alex Greenberger, Art in America, 14 Jan. 2025 Did you know? French professor of archaeology François Lenormant spent a great deal of time poring over ancient Assyrian texts. In those cuneiform inscriptions, he pieced together a long-forgotten language, now known as Akkadian, which proved valuable to our understanding of the ancient civilization. Through his studies, he became familiar with the Akkadian word for Mesopotamia's towering, stepped temples: ziqqurratu, which stepped into English as ziggurat.

Merriam-Webster's Word of the Day for May 2, 2025 is: ziggurat • ZIG-uh-rat • noun A ziggurat is an ancient Mesopotamian temple consisting of a pyramidal structure built in successive stages with outside staircases and a shrine at the top. The word ziggurat is also sometimes used for a similarly shaped structure. // Ancient ziggurats were always built with a core of mud brick and an exterior covered with baked brick. They had no internal chambers and were usually square or rectangular. See the entry > Examples: "The Breuer building, the former home of the Whitney Museum on New York's Upper East Side, counts as one of the defining buildings of the [brutalist] movement. Completed in 1966, it was designed by Marcel Breuer, who envisioned the structure as an inverted ziggurat." — Alex Greenberger, Art in America, 14 Jan. 2025 Did you know? French professor of archaeology François Lenormant spent a great deal of time poring over ancient Assyrian texts. In those cuneiform inscriptions, he pieced together a long-forgotten language, now known as Akkadian, which proved valuable to our understanding of the ancient civilization. Through his studies, he became familiar with the Akkadian word for Mesopotamia's towering, stepped temples: ziqqurratu, which stepped into English as ziggurat.