Podcasts about williams college museum

Episode No. 705 features curators Dalila Scruggs and Catherine Morris, and artist Beatriz Cortez. With Mary Lee Corlett, Scruggs and Morris are the co-curators of "Elizabeth Catlett: A Black Revolutionary Artist" at the National Gallery of Art, Washington. The exhibition surveys Catlett's career across over 150 sculptures, prints, paintings, and drawings. The exhibition is on view through July 6. An exceptional exhibition catalogue, titled Elizabeth Catlett: A Black Revolutionary Artist and All That It Implies was published by the The University of Chicago Press, the NGA and the Brooklyn Museum, which originated the exhibition. It is available from Amazon and Bookshop for $56-60. Catlett was a feminist, activist, and radical who helped join the Black Left in the US to influences from the Mexican Revolution. Her work continued the practice of earlier US artists such as Thomas Cole, Frederic Church, and Carleton Watkins by using cultural production to advance ideas and ideologies. Cortez is featured in "Seeds: Containers of a World to Come" at the Kemper Art Museum, Washington University in St. Louis. The exhibition features work by ten artists whose research-driven practices are informed by inquiry into plant-human-land relations. "Seeds" was curated by Meredith Malone and Svea Braeunert, and remains on view through July 28. The exhibition brochure is available here. "Beatriz Cortez x rafa esparza: Earth and Cosmos" is at the Americas Society, New York through May 17. The show considers the idea of ancient objects traveling across space and time. Cortez's work explores simultaneity, life in different temporalities, and imaginaries of the future. She has been featured in solo exhibitions at Storm King Art Center, New Windsor, NY,; the Williams College Museum of Art; Clockshop, Los Angeles; and more. Instagram: Catherine Janet Morris, Beatriz Cortez, Tyler Green.

It's another installment of Spirituality and Politics with Marielena Ferrer. Joining us today is... Lexa Walsh an artist, cultural worker and experience maker.  Her upbringing as the only bad athlete in a family of fifteen in the Philadelphia suburbs, and coming of age in the Bay Area post punk cultural scene of the 1990's informs her interest in alternative lifestyles, economies and communities. With a background in both sculpture and social practice, Walsh makes site specific projects, exhibitions, publications and objects, using an array of materials including ceramics and textiles, employing social engagement, institutional critique, and radical hospitality to question hierarchies, power and value.  She recently relocated from Oakland, CA to the Hudson Valley. The In Between: Tea Talks are series' of intimate facilitated discussions over home cooked meals that bring together conflicting populations of artists, activists, workers, Veterans, civilians, and others in a hospitable environment so each may share their positions in a safe yet open and critical dialogue. The goals of the project are to: Complicate the current good vs, evil/us vs. them narrative while eliciting understanding and extracting nuances from all sides. Engage in local micro politics while placing these issues in the larger current political landscape.Create a space for hospitable democracy.Share understanding about issues affecting our communities to a broader audience.Walsh founded the experimental music and performance venue the Heinz Afterworld Lounge, and co-founded and conceived of the all women, all toy instrument ensemble Toychestra.  Walsh worked for many years as a curator and administrator at CESTA, an international art center in Czech republic, whose team created radical curatorial projects to foster cross-cultural understanding. She founded Oakland Stock & Soup for Social & Racial Justice, and the Bay Area Contemporary Art Archive. She is a graduate of Portland State University's Art & Social Practice MFA program and was Social Practice Artist in Residence in Portland Art Museum's Education department. She was a recipient of Southern Exposure's Alternative Exposure Award, the CEC Artslink Award, the Gunk Grant and was a de Young Artist Fellow. Walsh has participated in projects, exhibitions and performances at Apexart, di Rosa Center for Contemporary Art, FOR-SITE, Grand Central Art Center, Kala Art Institute, Marin Museum of Contemporary Art, NIAD, Oakland Museum of California, SFMOMA, Smack Mellon, Walker Art Center, Williams College Museum of Art, Yerba Buena Center for the Arts, and has done several international artist residencies, tours and projects in Europe and Asia.Lexa and Marielena are co-hosting a Tea Talk at Unison Arts on Saturday, March 1st from 3-5pm. There's also a Destroy to Create event happening at Unison this Saturday, February 15th. More info and to RSVP here!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

Episode No. 634 is a holiday clips episode featuring artist Amalia Mesa-Bains.  The Phoenix Art Museum is presenting “Amalia Mesa-Bains: Archaeology of Memory,” the first retrospective of the pioneering Chicana artist. The exhibition includes nearly 60 works including fourteen of Mesa-Bains' major installations. It was curated by María Esther Fernández and Laura E. Pérez and is on view in Phoenix through February 25, 2024. The exhibition originated at the Berkeley Art Museum & Pacific Film Archive. The outstanding catalogue was published by BAMPFA in association with University of California Press. Amazon and Indiebound offer it for about $50. Across a half-century, Mesa-Bains has foregrounded Chicana forms such as altares (home altars), ofrendas (offerings to the dead), descansos (roadside resting places), and capillas (home yard shrines) within contemporary art. Her work often spotlights domestic spaces and the construction of landscape in ways that highlight colonial erasure. Among the museums which have presented solo exhibitions of Mesa-Bains' work are the Whitney Museum of American Art, the Williams College Museum of Art, the Fowler Museum at UCLA, and the San Francisco Museum of Modern Art. As promised on the program: Sandy Rodriguez on Episode No. 532. “New World Wunderkammer” at the Fowler Museum. For more images, see Episode No. 592.

Natalie Frank was born in Austin, TX and received her Master of Fine Arts in 2006 from Columbia University, New York, NY and her Bachelor of Arts in 2002 from Yale University, New Haven, CT. In 2004, Frank was awarded a Fulbright Scholarship to the National Academy of Fine Art, Oslo, Norway. Natalie has been the subject of recent solo exhibitions at Miles McEnery Gallery, New York, NY; the Kemper Museum of Contemporary Art, Kansas City, MO; Brattleboro Museum & Art Center, Brattleboro, VT; Madison Museum of Contemporary Art, Madison, WI; Salon 94, New York, NY; Lyles & King, New York, NY; Half Gallery, New York, NY; Lora Reynolds Gallery, Austin, TX; Rhona Hoffman Gallery, Chicago, IL; University of Kentucky Art Museum, Lexington, KY; ACME., Los Angeles, CA; Galleria Marie-Laure Fleisch, Rome, Italy; Blanton Museum of Art, University of Texas, Austin, TX; and The Drawing Center, New York, NY. She has been included in group exhibitions at numerous international institutions including the Bowdoin College Museum of Art, Brunswick, ME; Brattleboro Museum of Art, Brattleboro, VT; The Corcoran, Washington, D.C.; FLAG Art Foundation, New York, NY; London Museum of Design, London, United Kingdom; The Metropolitan Museum of Art, New York, NY; Modern Art Museum of Fort Worth, Fort Worth, TX; National Academy Museum, New York, NY; New York Academy of Art, New York, NY; Wellin Museum of Art, Hamilton College, Clinton, NY; Tang Teaching Museum, Skidmore College, Saratoga Springs, NY; Weatherspoon Art Museum, University of North Carolina, Greensboro, NC; and the Yale University Art Gallery, New Haven, CT, among others. Her work may be found in the collections of the Art Institute of Chicago, Chicago, IL; Blanton Museum of Art, University of Texas, Austin, TX; Bowdoin College Museum of Art, Brunswick, ME; Brooklyn Museum of Art, Brooklyn, NY; The Bunker, Beth Rudin DeWoody Collection, Palm Beach, FL; Everson Museum of Art, Syracuse, NY; Tang Teaching Museum, Skidmore College, Saratoga Springs, NY; Kemper Art Museum, St. Louis, MO; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; Weatherspoon Art Museum, University of North Carolina, Greensboro, NC; Whitney Museum of American Art, New York, NY; Williams College Museum of Art, Williamstown, MA; the Yale University Art Gallery, New Haven, CT, and elsewhere.

In this AWHY? Podcast Scott is joined by two new friends made since relocating to Vermont in December 2022.  Bill Ramage is a professor emeritus of Art, Castleton University and founder 77Art, established to help affect Rutland's well-being in preparation for what he believes could be a post-retail economy. His collections can be found in, among other places, The Williams College Museum of Art; The Wexner Museum, Ohio State University and Northern New England Museum of Contemporary Art (NNEMoCA), Burlington, VT.    Al Wakefield worked in New York City for a number of Fortune 500 companies, including: Mobil, Celanese, Singer and Avon.  In 1984, he moved to Mendon and made Rutland County, Vermont his base for Wakefield Talibisco International, a global executive search firm.  He is an accomplished business professional.  Al was born in 1938 in Harlem, NY and spent much of his childhood in Columbia, SC.     ALong with Bob Harnish of Pittsford, VT Al plays an ongoing and instrumental role in ensuring the Vermont Declaration of Inclusion is adopted by all 251 communities in the state of Vermont.    They sat down, two octagenarians and a Gen Xer to learn, to express their concerns and hopes for their community and embody the meaning of this podcast, to explore the cultural inertias that have a profound effect on the decisions we make in designing and building our communities, our economy, ourselves.   

Episode No. 592 of The Modern Art Notes Podcast features artist Amalia Mesa-Bains and curator Michael Duncan. The Berkeley Art Museum and Pacific Film Archive is presenting "Amalia Mesa-Bains: Archaeology of Memory," the first retrospective of the pioneering Chicana artist. The exhibition includes nearly 60 works including fourteen of Mesa-Bains' major installations. It was curated by María Esther Fernández and Laura E. Pérez and is on view through July 23. The outstanding catalogue was published by the Berkeley Art Museum in association with University of California Press. Amazon and Indiebound offer it for about $50. Across a half-century, Mesa-Bains has foregrounded Chicana forms such as altares (home altars), ofrendas (offerings to the dead), descansos (roadside resting places), and capillas (home yard shrines) into contemporary art. Her work often spotlights domestic spaces and the construction of landscape in ways that highlight colonial erasure. Among the museums which have presented solo exhibitions of Mesa-Bains' work are the Whitney Museum of American Art, the Williams College Museum of Art, the Fowler Museum at UCLA, and the San Francisco Museum of Modern Art. As promised on the program: Sandy Rodriguez on Episode No. 532. On the second segment, curator Michael Duncan discusses "Another World: The Transcendental Painting Group, 1938-45," which is at the Los Angeles County Museum of Art through June 19.  The exhibition presents a group of mostly northern New Mexico-based artists, including Raymond Jonson and Agnes Pelton, who built a spiritually-informed abstraction with a painterly language that included symbols and images drawn from the collective unconscious. The show's catalogue was published by the Crocker Art Museum and DelMonico Books. Amazon and Indiebound offer it for about $60.

Born in Manchester, England, Jane South worked in experimental theater before moving to the United States in 1989. She has a BFA in Theater from Central St. Martins, London, UK, and an MFA in Painting & Sculpture from UNC Greensboro. Solo exhibitions include Shifting Structures: Survey (2019), Mills Gallery, Central College, Pella, IA; Raked (2014), Spencer Brownstone Gallery, NY; Floor/Ceiling (2013), Aldrich Contemporary Art Museum, CT; Box (2011), Knoxville Museum of Art, TN and Shifting Structures: Stacks (2010), the New York Public Library, NY. Selected group exhibitions include the Invitational Exhibition of Visual Arts at the American Academy of Arts & Letters, NY, SLASH: Paper Under the Knife, Museum of Arts & Design (MAD), NY; Burgeoning Geometries: Constructed Abstractions, Whitney Museum of American Art, Altria; The Drawing Center, NY; Williams College Museum of Art, Williamstown, MA; Albright-Knox Art Gallery, Buffalo, NY, Pennsylvania Academy of Fine Arts, Philadelphia, PA and the Baltimore Museum of Art, MD. Southʼs work has been reviewed in The New York Times, the LA Times, Artforum, Art in America, Sculpture Magazine, New York Magazine, Frieze, ArtNews, NY Arts Magazine, and The New Yorker. She is a contributor to the book “The Artist as Cultural Producer: Living and Sustaining a Creative Life” (editor: Sharon Louden). Grants and residencies include the Guggenheim Fellowship (2021); Brown/RISD Mellon Foundation Fellowship (2015); Joan Mitchell Foundation Painters and Sculptors Grant (2009); Dora Maar House, Menérbes, France (2010); Camargo Foundation, Cassis, France (2010); Pollock-Krasner Foundation (2001 & 2008); New York Foundation for the Arts (2007); Rockefeller Foundation Bellagio Center, Italy (2008); MacDowell Colony, NH (2002 & 2004); Yaddo, NY (2001 & 2002). In 2018 South was elected to the National Academy of Design. Jane South is currently Chair of Fine Arts at Pratt Institute.

In this episode of PhotoWork with Sasha Wolf, we revisit episode 35 where Sasha and photographer Curran Hatleberg discuss his journey from studying painting in undergrad to receiving his MFA in photography at Yale. They discuss his upcoming monograph due out this spring in 2022, as well as the books he's already published, as solo monographs and in concert with his partner, the artist Cynthia Daignault. They drill down on the importance of working collaboratively, both with his photographic subjects, as well as with his wider support group. https://curranhatleberg.com https://tbwbooks.com/products/rivers-dream Curran Hatleberg received his MFA from Yale University in 2010. His work has been exhibited nationally and internationally, including recent shows at the Whitney Museum of American Art, MASS MoCA, Higher Pictures, and Fraenkel Gallery. Hatleberg has taught photography at numerous institutions, including Yale University and Cooper Union. He is the recipient of a 2020 Maryland State Arts Council Grant, a 2015 Magnum Emergency Fund grant, a 2014 Aaron Siskind Foundation Individual Photographer's Fellowship grant, and the 2010 Richard Benson Prize for excellence in photography. Hatleberg's work is held in various museum collections, including the Whitney Museum of American Art, SF MoMA, KADIST, the Center for Contemporary Photography, the Davison Art Center at Wesleyan University, the Williams College Museum of Art, and the Yale University Art Gallery. Lost Coast, his first monograph, was released by TBW Books in fall 2016. Somewhere Someone, a collaborative artist book with Cynthia Daignault, was released by Hassla Books in fall 2017. His second monograph, will be published by TBW Books in 2021. Find out more at https://photowork.pinecast.co

Episode No. 573 features artists Matthew Ronay and Jade Doskow. The Nasher Sculpture Center in Dallas is presenting "Matthew Ronay: The Crack, the Swell, an Earth, an Ode" through January 15, 2023. The exhibition features a nearly 24-foot-long sculpture that functions as both an introduction to Ronay's exploration of surrealism, abstraction, representation and art's history, and also as a summary of the last decade of his work. The exhibition was curated by Leigh Arnold and is accompanied by a catalogue published by the Nasher and Gregory R. Miller & Co. Indiebound and Amazon offer it for about $55. Ronay's work has been featured in solo shows at the Blaffer Art Gallery and at the Pérez Art Museum Miami. He has been included in group shows at the Dallas Museum of Art, the North Carolina Museum of Art, the Williams College Museum of Art, and more. The John Hartell Gallery at the Cornell University College of Architecture, Art, and Planning is presenting "A New Wilderness: Freshkills." The exhibition features photographs by Freshkills photographer-in-residence Jade Doskow and a series of soundscapes by Heather Campanelli. The work shows the evolution of Staten Island's Freshkills from a landfill -- the world's largest household garbage dump -- into a 2,200-acre city park. The exhibition is on view through November 4. Doskow's Freshkills work debuted in The New York Times. Black Dog London published a monograph of Doskow's "Lost Utopias" work in 2016. Instagram: Matthew Ronay, Jade Doskow, Tyler Green.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Wendy Red Star discuss how making work that is meaningful, informative, and healing is not the same as making work that has to explain everything to the audience, especially when there may be expectations that you are a representative of a larger group of people. Wendy and Sasha also talk about the excitement of creating her first monograph, Delegation published by Aperture. https://www.wendyredstar.com https://aperture.org/books/wendy-red-star-delegation/ Paris Photo/Aperture Foundation PhotoBook Awards Entry Initiated in November 2012 by Aperture Foundation and Paris Photo, the Paris Photo–Aperture Foundation PhotoBook Awards celebrate the photobook's contribution to the evolving narrative of photography, with three major categories: First PhotoBook, PhotoBook of the Year, and Photography Catalogue of the Year. https://aperture.org/calls-for-entry/photobook-awards/ Wendy Red Star lives and works in Portland, OR. Red Star has exhibited in the United States and abroad at venues including the Metropolitan Museum of Art (New York, NY), Brooklyn Museum (Brooklyn, NY), both of which have her works in their permanent collections; Fondation Cartier pour l'Art Contemporain (Paris, France), Domaine de Kerguéhennec (Bignan, France), Portland Art Museum (Portland, OR), Hood Art Museum (Hanover, NH), St. Louis Art Museum (St. Louis, MO), Minneapolis Institute of Art (Minneapolis, MN), the Frost Art Museum (Miami, FL), among others. Her work is in the permanent collections of the Museum of Modern Art (New York, NY), the Metropolitan Museum of Art (New York, NY), the Whitney Museum of American Art (New York, NY), the Amon Carter Museum of American Art (Fort Worth, TX), the Denver Art Museum (Denver, CO), the Ruth and Elmer Wellin Museum of Art at Hamilton College (Clinton, NY), the Baltimore Museum of Art (Baltimore, MD), the Fralin Museum of Art at the University of Virginia (Charlottesville, VA), the Nasher Museum of Art at Duke University (Durham, NC), the Birmingham Museum of Art (Birmingham, AL), the Williams College Museum of Art (Williamstown, MA), the Memorial Art Gallery of the University of Rochester (Rochester, NY), and the British Museum (London, UK), among others. She served a visiting lecturer at institutions including Yale University (New Haven, CT), the Figge Art Museum (Davenport, IA), the Banff Centre (Banff, Canada), National Gallery of Victoria in Melbourne (Melbourne, Australia), Dartmouth College (Hanover, NH), CalArts (Valencia, CA), Flagler College (St. Augustine, FL), and I.D.E.A. Space in Colorado Springs (Colorado Springs, CO). In 2017, Red Star was awarded the Louis Comfort Tiffany Award and in 2018 she received a Smithsonian Artist Research Fellowship. Her first career survey exhibition “Wendy Red Star: A Scratch on the Earth” was on view at the Newark Museum in Newark, New Jersey through May 2019, concurrently with her first New York solo gallery exhibition at Sargent's Daughters. Red Star is currently exhibiting at the Museum of Contemporary Art Chicago (Chicago, IL), The Broad (Los Angeles, CA), Santa Cruz Museum of Art & History (Santa Cruz, NM), The Drawing Center (New York, NY), The Rockwell Museum (Corning, NY), amongst others. Her new solo exhibition American Progress is on view at the Anderson Collection at Stanford University (Stanford, CA) through August 2022. Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from University of California, Los Angeles. She is represented by Sargent's Daughters. Find out more at https://photowork.pinecast.co

Sol LeWitt, who lived from 1928 to 2007, was a pioneer of conceptual art and is considered one of the most influential artists of the second half of the twentieth century. His artistic practice included wall drawings, structures, photography, printmaking, artist's books, drawings, gouaches, and folded and ripped paper works. The exhibition, “Strict Beauty: Sol LeWitt Prints” is the most comprehensive presentation of the artist's printmaking to date and it is on view at the Williams College Museum of Art in Williamstown, MA through June 12.Curated by David S. Areford, professor of art history at the University of Massachusetts Boston, the exhibition is accompanied by an in-depth catalog co-published by the New Britain Museum of American Art, Williams College Museum of Art, and Yale University Press.

About the guestAnn Shafer is an independent curator, art historian, writer, and a leading expert on intaglio printmaking by Stanley William Hayter and Atelier 17. Formerly Shafer was associate curator of Prints, Drawings, and Photographs at the Baltimore Museum of Art, where she curated a variety of exhibitions. She also organized the museum's Baltimore Contemporary Print Fair in 2012, 2015, and 2017, featuring an international array of twenty presses, publishers, and dealers. Currently, she is bringing the print fair back to Baltimore in April 2022 and hosts two podcasts: Platemark and The Curator's Choice. Shafer has a BA from The College of Wooster and an MA from Williams College. In additional to the Baltimore Museum of Art, Ann has worked at the Whitney Museum of American Art, the Williams College Museum of Art, and the National Gallery of Art.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episodeAnn's websiteTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★

Guided by respected journalistic standards, the principle of fairness, the quest for truth, a commitment to social, economic and environmental justice, and an abiding admiration for the independent spirit of the Berkshires, The Berkshire Edge offers in-depth local news reports and features, perspectives on the arts, wide-ranging commentary, and a comprehensive calendar of events – all written, illustrated, and, in some cases performed, with wit, intelligence, insight and humor. 1. It seems that proposed upgrades to our public education system is occupying public attention this week.The Great Barrington Selectboard has authorized a townwide vote on the town's share of a $1.5 million study to determine whether a new high school should be built:https://theberkshireedge.com/great-barrington-authorizes-town-vote-on-1-5-million-to-fund-new-high-school-study/ 2. In the background, of course, is the potential merger of the Berkshire Hills and Southern Berkshire school districts that has been recommended by a consultant: https://theberkshireedge.com/consultant-recommends-full-merger-of-berkshire-hills-southern-berkshire-regional-school-districts/ 3. At the same time, the Mt. Everett Regional School in the Southern Berkshire Regional School District has been designated an “early” college, part of the state's Early College Initiative and in partnership with Simon's Rock of Bard College:https://theberkshireedge.com/state-gives-mount-everett-early-college-designation/ And to prepare Mt. Everett students for college the Southern Berkshire School District is expanding its partnership with Simon's Rock College in Great Barrington:https://theberkshireedge.com/sbrsd-expands-partnership-to-prepare-students-for-the-college-and-work-worlds/ 4. Of course, we could not go a week without mentioning the burgeoning marijuana business. And now it's the mountain town of Becket, where town planners have approved a proposal to build a “cannabis grow facility” —a 31,000 square foot greenhouse with the somewhat menacing name of “Tetrahydra” — sounds like some creature from 20,000 Leagues under the Sea: https://theberkshireedge.com/becket-planners-approve-large-cannabis-grow-house-amid-questions-about-compliance-and-procedure/ 5. Meanwhile, on the arts front, David Edwards has written a review of the significant Sol LeWitt exhibit at the Williams College Museum of Art that will be up through June 11: https://theberkshireedge.com/strict-beauty-sol-lewitt-prints-at-williams-college-museum-of-art-through-june-11/ And if you can't make it to Williamstown, we offer a video tour of the exhibit.

Matthew Ronay Matthew Ronay (b. 1976, Louisville, KY) lives in New York. In 2016, his work was the subject of a solo-presentation at the Blaffer Art Museum in Houston, and the Pérez Art Museum Miami, with a fully-illustrated exhibition catalogue published on the occasion. He has exhibited extensively at major institutions worldwide, including: Crystal Bridges Museum of American Art, Bentonville, AK; Kentucky Museum of Art and Craft, Louisville; Kunstverein Lingen, Germany; University of Louisville, KY; Artspace, San Antonio; Serpentine Gallery, London; Sculpture Center, New York; Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, and Parasol Unit Foundation for Contemporary Art, London. Ronay participated in the 2013 Lyon Biennale, curated by Gunnar Kvaran, and the 2004 Whitney Biennial. His work is included in numerous major public collections, including: ARoS Aarhus Kunstmuseum, Denmark; Astrup Fearnley Muset for Moderne Kunste, Oslo; Crystal Bridges Museum of American Art, Bentonville, AK; Dallas Museum of Art; Henry Art Gallery, University of Washington, Seattle; Los Angeles County Museum of Art; Museum of Modern Art, New York; Pérez Art Museum Miami; Whitney Museum of American Art, New York, and Williams College Museum of Art, Williamstown, MA. The artist currently has a solo show at Casey Kaplan entitled Ligatures. Matthew Ronay Recursionizer, 2021 Basswood, dye, gouache, flocking, plastic, steel, epoxy 16.25 x 59 x 12"/ 41.28 x 149.86 x 30.48cm Courtesy the artist and Casey Kaplan, New York Matthew Ronay, Forces, 2020, Basswood, dye, gouache, flocking, plastic, steel14 x 11.5 x 9"/ 35.56 x 29.21 x 22.86cm, Courtesy the artist and Casey Kaplan, New York

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer Curran Hatleberg discuss his journey from studying painting in undergrad to receiving his MFA in photography at Yale. They discuss his upcoming monograph due out this spring in 2022, as well as the books he's already published, as solo monographs and in concert with his partner, the artist Cynthia Daignault. They drill down on the importance of working collaboratively, both with his photographic subjects, as well as with his wider support group. https://curranhatleberg.com https://tbwbooks.com/products/rivers-dream Curran Hatleberg received his MFA from Yale University in 2010. His work has been exhibited nationally and internationally, including recent shows at the Whitney Museum of American Art, MASS MoCA, Higher Pictures, and Fraenkel Gallery. Hatleberg has taught photography at numerous institutions, including Yale University and Cooper Union. He is the recipient of a 2020 Maryland State Arts Council Grant, a 2015 Magnum Emergency Fund grant, a 2014 Aaron Siskind Foundation Individual Photographer's Fellowship grant, and the 2010 Richard Benson Prize for excellence in photography. Hatleberg's work is held in various museum collections, including the Whitney Museum of American Art, SF MoMA, KADIST, the Center for Contemporary Photography, the Davison Art Center at Wesleyan University, the Williams College Museum of Art, and the Yale University Art Gallery. Lost Coast, his first monograph, was released by TBW Books in fall 2016. Somewhere Someone, a collaborative artist book with Cynthia Daignault, was released by Hassla Books in fall 2017. His second monograph, will be published by TBW Books in 2021. Find out more at https://photowork.pinecast.co

Matt Kleberg (b.1985, Kingsville TX based in San Antonio, TX) received his BA from the University of Virginia in 2008 and his MFA from Pratt Institute in 2015. He is represented by Pazda Butler Gallery, Barry Whistler Gallery, and Sorry We're Closed. Recent exhibitions include Good Naked Gallery (NY); Johansson Projects (CA); Barry Whistler Gallery (TX); Pazda Butler Gallery (TX); Albada Jelgersma Gallery (Amsterdam), and Sorry We're Closed (Brussels). His work has been written about in The New York Times, The Brooklyn Rail, Painting is Dead, Artsy, Vice, Maake Magazine, ArtDaily, New American Paintings, Blouin Artinfo, ArtMaze Magazine, Artillery Magazine, and Hyperallergic. His work is included in public and private collections, including the Williams College Museum of Art, the University of California Santa Barbara Museum of Art, the Old Jail Art Center, the Addison Gallery of American Art, the Museum of Fine Arts Houston, and the National Gallery of Art. Kleberg lives and works in San Antonio, TX. 

Nick Nazmi (b. Chicago, 1991) creates an array of paintings and drawings in which apparitions, lost souls, and characters in a book are stuck in their nostalgia for a time and place that is no longer accessible. His work is influenced heavily by Persian folklore and the poetry of his father and grandfather from Iran. Nazmi lives in Brooklyn, New York. The paintings he describes in this episode are: Grant Wood (American, 1891–1942) Death on Ridge Road 1935 Oil on masonite 32 ⅛” × 39 1/16” × 1 5/16” Williams College Museum of Art Gift of Cole Porter Stone City, Iowa oil on wood panel 30¼ x 40” Joslyn Art Museum Gift of the Art Institute of Omaha, 1930.35; Art © Estate of Grant Wood/Licensed by VAGA, New York, NY

In this episode, we speak with video artist Kameron Neal who uses his body and personal narratives to explore intimacy and to challenge socio-political ideologies. -About Kameron Neal-Kameron Neal is a queer Black video artist, designer, and performance-maker based in NYC. Forbes described Kameron’s solo exhibition at Detroit Art Week 2019 as “an absurd escape that simultaneously provokes and entertains.” Kameron is currently in residence at CultureHub, The Public Theater’s Devised Theater Working Group, and the Bemis Center. As a Resident Artist at Ars Nova, he co-created MukhAgni, an irreverent multimedia performance memoir, with Shayok Misha Chowdhury; the piece was curated in Under the Radar 2020. His stop-motion self-portrait Liquid Love was awarded Best of Show at Digital Graffiti Festival 2017 where he returned in 2018 as an artist in residence. Kameron’s video art has been featured in music videos for Billy Porter and Rufus Wainwright. His work has also been seen in National Geographic, HYPEBEAST, Studio Magazine, and at BAM, New York Theatre Workshop, SohoRep, La Mama, Bushwick Starr, New Orleans Film Festival, Blue Balls Festival, the Type Director’s Club, Vox Populi, and Williams College Museum of Art.Learn more at kameronneal.comFollow Kameron @kamer_n

Wednesday, November 6, 2019 This is Collection Explorer, a generous interface for the collection at the Williams College Museum of Art. The concept of a “generous interface” was developed in response to the limitations of the search box, which acts as a roadblock to many users of online collections. Instead, interfaces like Collection Explorer shows the shape of the whole collection and invites visual exploration. Collection Explorer is one of the first of its kind. We wanted our audiences to dive into the collection and find objects, connections and ideas that they didn’t even know they were looking for. More than precise answers, we hoped faculty and students would find interesting questions in our collections. We aimed to provide open conversation starters rather than definitive endpoints. Moreover we knew that even world-renowned math scholars could find an art collection intimidating, and come up short when confronted with a keyword search. The Collection Explorer was created to help faculty and students—especially non-art specialists—to find works of art to use in their own teaching and learning. In practice, the online tool has allowed many audiences, including curators, staff, and specialists, to see the collection in new ways and make unforeseen discoveries. Session Type30-Minute Session (Presentation or Case Study) TrackSystems Chatham House RuleNo Key Outcomes...recognize the value of generous interfaces for online collections, see an example of one in production, and learn how to implement such an app for their own institution. (Code is open source) Speaker: Chad Weinard, Independent Museum Technology Strategist, Independent

Ariel Kavoussi is an award-winning artist, writer, producer, filmmaker, actor, and curator of film & video works based in New York City. Her work has been exhibited at the Museum of Modern Art's Documentary Fortnight, Dia: Chelsea, Louis B. James, Anthology Film Archives, the Williams College Museum of Art, Woodstock Film Festival, Loft Film Festival, Maryland Film Festival, Lighthouse International Film Festival, and elsewhere. Her most recent short film, THE POET AND THE PROFESSOR, is a dark comedy which stars herself opposite indie stalwart Kevin Corrigan (WALKING AND TALKING, THE GET DOWN) and Bob Byington (THE COLOR WHEEL). It premiered at the 2017 Maryland Film Festival and was selected as one of the few short films to be included in the new Parkway Theater’s regular programming under Dark Comedy Shorts. In 2017, Ariel acted opposite Anne Heche, Sandra Oh, & Dylan Baker in Onur Tukel's dark comedic feature CATFIGHT (Toronto International Film Festival). Numerous critics have lauded her performance; Vanity Fair singled Ariel Kavoussi out as Hilarious Newcomer for her work, as did Variety. Kavoussi can next be seen opposite Emma Stone in Cary Fukunaga’s original series for Netflix called Maniac,” as well as opposite Mamoudou Athie in Alex Karpovsky’s original series for FX Networks called  Oh, Jerome No.

Barbara Takenaga is an artist living and working in New York City. Barbara grew up in Nebraska and got her BFA and MFA at the University of Colorado at Boulder. Her recent solo exhibitions include DC Moore Gallery in NYC, Gregory Lind Gallery in San Francisco, and a 20-year survey at the Williams College Museum of Art, curated by Debra Bricker Balken, accompanied by a catalogue published by DelMonico Books|Prestel.  Her large-scale wall projects include Space/42 of the Neuberger Museum and the Hunter Lobby of MASS MoCA.  Other recent exhibitions include a two-person exhibition at the Bemis Center for Contemporary Arts in Omaha, a solo show at the Huntington Museum in WV and a group show, Chaos and Awe at the Frist Museum of Art in Nashville.  Her work is in the collection of the Library of Congress in DC, the San Jose Museum of Art, the Ackland Art Museum in Chapel Hill, The Museum of Nabraska art amongst many others. She has taught at Williams College, the University of Denver and Washington, St. Louis. Brian stopped by Barbara’s Flatiron studio to talk about the great plains, feeling at home in New York, negative jazz and more. This episode of Sound & Vision is brought to you by Golden Paints and Topo Designs.

Maggie Adler is Curator at the Amon Carter Museum of American Art in Fort Worth, Texas, where she organizes exhibitions that explore the breadth of American art that exists within and outside of the museum’s collection. A native of rural New York, she received her higher education at Williams College in Williamstown, Massachusetts where she obtained a BA in classical languages and art history and a Masters in art history. Prior to the Amon Carter, Maggie held positions at Williams College Museum of Art and the Addison Gallery of American Art at Phillips Academy, as well as a fellowship at the Philadelphia Museum of Art. In addition to her curatorial duties, she also serves as co-chair for the Association for the Historians of American Art. Though her research focuses on nineteenth-century art, she is also passionate about collaborating with contemporary artists to create large-scale commissions and has worked with Jenny Holzer, Pepon Osorio, and Gabriel Dawe on site-specific installations. She is currently planning a major commission with artist Mark Dion and collaborating on a traveling exhibition pairing Winslow Homer and Frederic Remington. I recently sat down with Maggie in the main gallery of the Amon Carter where we discussed her attraction to Williams College, her love of Winslow Homer, the color theory of Michel Eugène Chevreul, her winding career path, what makes the Amon Carter unique, and finding contemporary work that fits within the museum’s narrative.

Maggie Adler is Curator at the Amon Carter Museum of American Art in Fort Worth, Texas, where she organizes exhibitions that explore the breadth of American art that exists within and outside of the museum’s collection. A native of rural New York, she received her higher education at Williams College in Williamstown, Massachusetts where she obtained a BA in classical languages and art history and a Masters in art history. Prior to the Amon Carter, Maggie held positions at Williams College Museum of Art and the Addison Gallery of American Art at Phillips Academy, as well as a fellowship at the Philadelphia Museum of Art. In addition to her curatorial duties, she also serves as co-chair for the Association for the Historians of American Art. Though her research focuses on nineteenth-century art, she is also passionate about collaborating with contemporary artists to create large-scale commissions and has worked with Jenny Holzer, Pepon Osorio, and Gabriel Dawe on site-specific installations. She is currently planning a major commission with artist Mark Dion and collaborating on a traveling exhibition pairing Winslow Homer and Frederic Remington. I recently sat down with Maggie in the main gallery of the Amon Carter where we discussed her attraction to Williams College, her love of Winslow Homer, the color theory of Michel Eugène Chevreul, her winding career path, what makes the Amon Carter unique, and finding contemporary work that fits within the museum’s narrative.

What the heck is urban homesteading? This podcast will explore that question along with other big ideas such as: How can we live sustainably in an urban environment? What lessons about the environment can we learn from other cultures? How do we instill these values in our children, our communities? Listen to my conversations with Dan Bensonoff, Kesiah Bascom, and Kristin Brennan. Hope you enjoy! Producer Bio - Kaira Mediratta Hi! I'm Kaira, and I'm a freshman at Williams. I am originally from NYC so, for this podcast, I was drawn to the idea of sustainability in the city and what that looks like. I really do love the abundance of nature and farms in the Berkshires, though, which I think has been a big factor in trying to choose a major (I'm thinking environmental science or art history). Beyond these things, you can usually find me doing yoga or hanging out at WCMA (the Williams College Museum of Art). Credits https://freesound.org/people/Dvideoguy/sounds/246315/ https://freesound.org/people/folkart%20films/sounds/122767/ https://leerosevere.bandcamp.com/album/music-for-podcasts-2

Moderator: Anthony Lee, Mount Holyoke College. Nancy Mowll Mathews, Williams College Museum of Art, "American Moving Pictures in an International Context, 1890-1900." François Brunet, Université Paris 7 - Denis Diderot, "American Photography in France: A Brief History of Reception." Rob Kroes, University of Amsterdam, "The Family of Man Revisited."

Watch in Quicktime.Click text or picture to view iPod ready video.Click the post below to view this video in Windows Media.Running time: 6:16GREAT RIVERS BIENNIAL 2006January 20, 2006 - March 26, 2006_________________________MOSES: The Audiophile SeriesMATTHEW STRAUSS: Dead LanguageJASON WALLACE TRIEFENBACH: Hero, Compromised (Autobiographical Fiction/Narrative Medley)The Great Rivers Biennial is a collaboration between the Contemporary and the Gateway Foundation designed to strengthen the local art scene in St. Louis. As many as three artists are selected by a panel of esteemed national jurors to receive an award of $15,000 each and an exhibition at the Contemporary Art Museum St. Louis.The goal of this innovative awards program is to identify talented emerging local artists, provide them financial assistance, raise the visibility of their work in both the Midwest and national art community, and provide them with professional support from visiting critics, curators and dealers.Emerging artists in the St. Louis area were invited to submit work from any of the following categories: drawing, painting, photography, printmaking, sculpture, mixed media, and multi-media. An emerging artist is someone in the early stages of his or her career development who has not yet received wide exhibition exposure locally or nationally or significant financial awards from other organizations.During summer 2005, Great Rivers Biennial jurors reviwed all submissions and selected three emerging artists to receive the award. This year's high profile panel of jurors included Elizabeth Dunbar, Curator at the Kemper Museum of Contemporary Art, Kansas City; Gary Garellis, Senior Curator at UCLA Hammer Museum, Los Angeles; and Helen Molesworth; Chief Curator of Exhibitions at Wexner Center for the Arts, Columbus.The recipients of the inaugural Great Rivers Biennial 2004 were Jill Downen, Adam Frelin, and Kim Humphries who were selected by jurors Lisa Corrin, Director, Williams College Museum of Art; Debra Singer, Executive Director and Chief Curator, The Kitchen; and Hamza Walker, Department Director, Renaissance Society at the University of Chicago.Information courtesy Great Rivers Biennial 2006 catalogue, Contemporary Art Museum St. Louis (www.contemporarystl.org)In these three interviews, produced during the week of the opening exhibition, by Hugh Beall and illusionJunkie.com, William Griffin, Artistic Director of the St. Louis Veiled Prophet Parade, talks with Moses, Matthew Strauss and Jason Wallace Triefenbach. All three artists are represented by Bruno David Gallery (www.brunodavidgallery.com).A free subscription to www.illusionJunkie.com saves time by automatically downloading future videos to your computer. Requires only one-click from the sidebar on this page.