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2 episodes with young museum
2 episodes with young museum
2 episodes with young museum
2 episodes with young museum
2 episodes with young museum
On this week's episode of "The Sights + Sounds Show with Jeneé Darden": Oakland cartoonist Wahab Algarmi, talks about his graphic novel "Almost Sunset," Paul McCartney's "Eye of the Storm" photo exhibit at the de Young Museum, and the Oakland Gay Men's Chorus' upcoming concert
Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Ranu Mukherjee, a painter, textile, and film installation artist, who was recently appointed as Dean of the Film and Video School at CalArts in Los Angeles. Ranu discusses her background, her collaborative work with choreographers, and her latest project designing a curtain for the San Francisco Ballet's 'Cool Britannia'. She shares insights into her inspirations, including forests and their literary forms, and her early experiences that led her to become an artist. The episode concludes with Emily's regular segment, 'Three Questions', discussing influential works and inspiring places.About Artist Ranu Mukherjee:Ranu Mukherjee's work has been the subject of solo exhibitions at the 18th Street Arts Center, Los Angeles (2022-2023) de Young Museum, San Francisco (2018-2019); the Pennsylvania College of Art and Design (2017); the Asian Art Museum, San Francisco (2016); the Tarble Art Center, Charleston, IL (2016) and the San Jose Museum of Art, CA (2012), among others. Her most recent immersive video installations have been was presented in Natasha, Singapore Biennale 2022-2023, the 2019 Karachi Biennale (2019) and Los Angeles County Museum of Art (2016) as well as in numerous international group exhibitions. Mukherjee has been awarded a 2023 Artadia Award,a Pollock Krasner Grant (2020); a Lucas Visual Arts Fellowship at Montalvo Arts Center, Saratoga, CA (2019-2024); an 18th Street Arts Center Residency, Los Angeles (2022); Facebook Artist in Residence (2020); de Young Museum Artist Studio Program (2017); the Space 118 Residency, Mumbai (2014); and a Kala Fellowship Award and Residency, Berkeley (2009). Her work is in the permanent collection of the Asian Art Museum, San Francisco; de Young Museum, San Francisco; the Escallete Collection at Chapman University; the JP Morgan Chase Collection, New York; the Kadist Foundation, San Francisco and Paris; the Oakland Museum of California; the San Jose Museum of Art; and the San Francisco International Airport, among others. In 2021 Gallery Wendi Norris released Shadowtime, a major monograph on Mukherjee's work over the past decade featuring a conversation with author and climate activist Amitav Ghosh, and an essay by Jodi Throckmorton, curator of Mukherjee's first solo museum exhibition at the San Jose Museum of Art. Mukherjee co-created Orphan Drift, a London-based cyber-feminist collective and avatar making combined media works since 1994. They have participated in numerous exhibitions and screenings internationally including in London, Oslo, Berlin, Oberhausen, Glasgow, Istanbul, Vancouver, Santiago, Capetown, and the Bay Area.Mukherjee received her B.F.A. in Painting, from the Massachusetts College of Art, Boston, MA in 1988, and her MFA in Painting at the Royal College of Art, London, UK in 1993. She serves on the Board of Trustees at the San Jose Museum of Art, and the Board of Directors at Bridge Live Arts. She is a Professor and Chair of Film at California College of the Arts, San Francisco. Visit Ranu's Website: RanuMukherjee.comFollow on Instagram: @RanuMukherjeeFor more on 'Cool Britannia' at the San Francisco Ballet - CLICK HERE.For more on Ranu's book, 'Shadowtime' - CLICK HERE--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com
Nicole and Drew uncover the history of an infamous art heist at the de Young Museum on Christmas Eve in 1978. Was the stolen Rembrandt painting returned? Was it even a real Rembrandt? Tune into this special holiday episode to find out.
Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This week, we are replaying a conversation from December 2023, as our final drop of the year. It features Emily chatting with artist Rupi C. Tut, whose work focuses on capturing the stories of women like herself and her family. Rupy shares her journey from moving to the U.S. from India, studying pre-med at UCLA, to deciding to pursue art and successfully exhibiting her work in renowned museums, such as the De Young Open and the Institute of Contemporary Art in San Francisco. Rupy discusses her dedication to portraying everyday heroism, belonging, and cultural identity through her art, emphasizing the importance of representation and the significant influence of her background in her creative process. The episode also highlights her training in Pahati painting and her latest show, 'Out of Place,' reflecting on the broader impact of her work on diverse audiences.Rupy is a recent 2024 SECA Art Award recipient, and her work is currently being featured at the SFMOMA with other SECA Award winners. Art is Awesome will return on January 1st with brand new Episodes, featuring artists Carrie Ann Plank and Tricia Rainwater.About Artist Rupy C. Tut:Rupy C. Tut is a painter dissecting historical and contemporary displacement narratives around identity, belonging, and gender. As a descendant of refugees and a first generation immigrant, Rupy's family narrative of movement, loss, and resilience is foundational to her creative inquiries. Tut's artistic practice expands, innovates, and reframes the traditions of Indian miniature painting. She mixes her own pigments and turns to hemp paper and linen to contend and make visible one's place in the world. Rupy C. Tut lives and works in Oakland, California. Her work has been presented through exhibitions and talks at the de Young Museum, San Francisco; Asian Art Museum, San Francisco; London City Hall; Stanford University; The Peel Art Gallery and Museum Archives, Toronto; a solo exhibition Rupy C. Tut: A Recipe for Brown Skin at the Triton Museum of Art, Santa Clara; and a solo exhibition Rupy C. Tut: Search and Rescue at Jessica Silverman, San Francisco. Rupy C. Tut is represented by Jessica Silverman.Visit Rupy's Website: RupyCTut.comFollow Rupy on Social Media: @RupyCTutFor more on Rupy's SECA Art Award Exhibit at SFMOMA, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com
This week: two exhibitions in London are showing remarkable works made during the Renaissance. At the King's Gallery, the museum that is part of Buckingham Palace, Drawing the Italian Renaissance offers a thematic journey through 160 works on paper made across Italy between 1450 and 1600. Ben Luke talks to Martin Clayton, Head of Prints and Drawings at the Royal Collection Trust, about the show. At the Royal Academy, meanwhile, the timescale is much tighter: a single year, 1504 to be precise, when Michelangelo, Leonardo and Raphael were all in Florence. We talk to Julien Domercq, a curator at the Academy, about this remarkable crucible of creativity. And this episode's Work of the Week is a magnum opus of Renaissance textiles: the Battle of Pavia Tapestries, made in Brussels to designs by Bernard van Orley, and currently on view in an exhibition at the de Young Museum in San Francisco. Thomas Campbell, the director of Fine Arts Museums of San Francisco, talks to The Art Newspaper's associate digital editor, Alexander Morrison, about the series.Drawing the Italian Renaissance, King's Gallery, Buckingham Palace, London, until 9 March 2025Michelangelo, Leonardo, Raphael: Florence, c.1504, Royal Academy of Arts, London, 9 November-16 February 2025Art and War in the Renaissance: The Battle of Pavia Tapestries, de Young Museum, San Francisco, US, until 12 January; Museum of Fine Arts, Houston, Texas, spring 2025Subscription offer: get three months for just £1/$1/€1. Choose between our print and digital or digital-only subscriptions. Visit theartnewspaper.com to find out more Hosted on Acast. See acast.com/privacy for more information.
Exploring San Francisco: A City of Wonders and DiversitySan Francisco, a city of iconic landmarks and diverse neighborhoods, offers a unique blend of history, culture, and natural beauty. Nestled on a picturesque peninsula, this Californian gem captivates visitors with its stunning views, historic charm, and vibrant atmosphere. Whether you're a first-time visitor or a seasoned local, San Francisco has something for everyone.The Golden Gate Bridge: A Marvel of EngineeringNo visit to San Francisco is complete without seeing the Golden Gate Bridge. Spanning nearly 1.7 miles, this engineering marvel connects San Francisco to Marin County and is one of the most photographed structures in the world. Take a walk or bike ride across the bridge to experience breathtaking views of the bay, the city skyline, and the Pacific Ocean. The bridge is also spectacular at sunrise or sunset, when its orange-red color contrasts vividly against the sky.Alcatraz Island: A Glimpse into the PastJust a short ferry ride from the city, Alcatraz Island offers a fascinating journey into San Francisco's history. Once home to a notorious federal prison, Alcatraz is now a popular tourist destination where visitors can explore the cell blocks, learn about famous inmates, and hear stories of daring escapes. The island also provides panoramic views of San Francisco, making it a must-visit spot for history buffs and photographers alike.Fisherman's Wharf: A Culinary DelightFisherman's Wharf is a bustling waterfront area known for its seafood, street performers, and lively atmosphere. Sample fresh clam chowder in a sourdough bread bowl from one of the many vendors, or enjoy a meal at one of the waterfront restaurants. Don't miss the famous sea lions that lounge on the docks near Pier 39. The Wharf is also a gateway to other attractions like the Aquarium of the Bay and the historic Hyde Street Pier.Chinatown: A Cultural EpicenterSan Francisco's Chinatown is the oldest and one of the largest in North America. Stroll through its bustling streets, where vibrant lanterns and traditional architecture create a lively atmosphere. Visit the shops selling unique goods, from herbal remedies to intricate crafts, and indulge in authentic dim sum at one of the many local eateries. The neighborhood's annual Chinese New Year parade is a highlight, featuring colorful floats, traditional lion dances, and festive music.The Mission District: Art and CultureThe Mission District is a vibrant and eclectic neighborhood known for its rich cultural history and artistic spirit. The area is famous for its colorful murals, which adorn many buildings and tell stories of social and political movements. Valencia Street is a hub of trendy boutiques, artisanal eateries, and craft breweries. Make sure to visit the historic Mission Dolores, the oldest surviving structure in San Francisco, which offers insights into the city's early days.Golden Gate Park: A Green OasisGolden Gate Park is a sprawling urban park that offers a wide range of activities and attractions. Covering over 1,000 acres, it's larger than New York's Central Park. Explore its diverse gardens, including the Japanese Tea Garden and the Conservatory of Flowers. The park is also home to the de Young Museum and the California Academy of Sciences, both of which offer fascinating exhibits and experiences. Don't forget to rent a bike or a paddle boat to fully enjoy the park's scenic beauty.San Francisco is a city that celebrates its diversity through its neighborhoods, landmarks, and cultural institutions. From the majestic Golden Gate Bridge to the historic streets of Chinatown, each corner of the city offers its own unique charm. Whether you're exploring its iconic sights, delving into its rich history, or simply enjoying its vibrant food scene, San Francisco promises an unforgettable experience. So pack your bags, bring your curiosity, and get ready to discover all that this amazing city has to offer.
Jamie Luoto (b. 1987) lives and works in the San Francisco North Bay. Her work has been featured in publications such as Booooooom, Art Maze Mag, and New American Paintings; appeared on platforms such as Juxtapoz and Hyperallergic; and is in international private and public collections including the Green Family Art Foundation (Dallas, USA). Selected recent exhibitions include: (Upcoming) Reflections and Refractions, Green Family Art Foundation, (2026); (Upcoming) The Armory Show, Kristin Hjellegjerde Gallery, New York, USA (2024); (Upcoming) When Dusk Falls, Kristin Hjellegjerde Gallery, Berlin, Germany (2024, duo); Mirror, Mirror, Kristin Hjellegjerde Gallery, London, UK (2024); EXPO Chicago, Kristin Hjellegjerde Gallery, Chicago, USA (2024); The de Young Open, de Young Museum, San Francisco, USA (2023); Nude, Manifest Gallery, Cincinnati, USA (2023); True North, di Rosa Center for Contemporary Art, Napa, USA (2022); Stories from My Childhood, Northern Illinois University Art Museum, DeKalb, USA (2022); All About Women, Marin Society of Artists' Gallery, San Rafael, USA (2021); Chasing Ghosts V, Verum Ultimum Gallery, Portland, USA (2020); Art the Library Featuring Jamie L. Luoto, Napa County Library, Napa, USA (2019, solo); It's Time: An Uncensored Look at the Time's Up and #MeToo Movements, Orange County Center for Contemporary Art, Santa Ana, USA (2018); Pride and Prejudice: Gender Realities in the 21st Century, Arc Gallery, Chicago, USA (2018); Identity Spectrum, Susquehanna Art Museum, Harrisburg, USA (2018).
Ep.206 David Huffman (b. 1963, Berkeley, CA) has work in the collections of SFMOMA, San Francisco; LACMA, Los Angeles; Berkeley Art Museum, CA; Studio Museum, Harlem; Minneapolis Institute of Art, MN; Oakland Museum of California; Crocker Art Museum, Sacramento, CA; San José Museum of Art, CA; Palo Alto Art Center, CA; Eileen Norton Collection, Los Angeles; Birmingham Museum of Art, AL; Frederick R. Weisman Art Museum, Minneapolis, MN, Arkansas Art Center; ASU Art Museum, Tempe, AZ; Lodeveans Collection, London; and the Embassy of the United States of America, Dakar, Senegal, among others. Huffman enjoyed a recent solo exhibition at the Museum of the African Diaspora, San Francisco and has been included in recent group exhibitions at the de Young Museum, San Francisco; Everson Museum of Art, NY; Weatherspoon Museum of Art, NC; and The Write Museum, MI. He is the recipient of numerous awards and residencies including the Eureka Fellowship, ARTADIA San Francisco, Palo Alto Public Arts Commission, and the Barclay Simpson Award. He studied at the New York Studio School and received his MFA at California College of the Arts & Crafts, San Francisco. Huffman lives and works in Oakland, CA; he is currently on the board at SFMOMA. Huffman is represented by Jessica Silverman, San Francisco and Casey Kaplan, New York. Photo credit: Francis Baker Artist http://david-huffman.com/ Casey Kaplan https://caseykaplangallery.com/artists/david-huffman/ | https://caseykaplangallery.com/?exhibitions=david-huffman Jessica Silverman https://jessicasilvermangallery.com/online-shows/david-huffman-odyssey/ SFMOMA https://www.sfmoma.org/artist/David_Huffman/ BAMPFA https://bampfa.org/event/artists-curatorial-gallery-talks-david-huffman MOAD SF https://www.moadsf.org/exhibitions/david-huffman-terra-incognita KQED https://www.kqed.org/arts/13911456/at-moad-david-huffmans-terra-incognita-explores-black-trauma-among-the-stars Studio Museum in Harlem https://www.studiomuseum.org/artists/david-huffman PAFA https://www.pafa.org/museum/collection-artist/david-huffman Hyperallergic https://hyperallergic.com/678893/david-huffman-afro-hippie-berkeley-art-center/ Berkeley Side https://www.berkeleyside.org/2021/08/13/david-huffman-berkeley-art-center U.S. Dept of State https://art.state.gov/personnel/david_huffman/ California College of the Arts https://www.cca.edu/newsroom/faculty-spotlight-david-huffman-paintingdrawing-fine-arts/ Open-Editions https://open-editions.com/collections/david-huffman Miles McEnery https://www.milesmcenery.com/exhibitions/david-huffman Templon https://www.templon.com/exhibitions/cosmography/ Artforum https://www.artforum.com/events/david-huffman-3-250228/ ARTnews https://www.artnews.com/art-in-america/aia-reviews/david-huffman-protest-paintings-casey-kaplan-1234707187/ Daily Art Fair https://dailyartfair.com/exhibition/18000/david-huffman-casey-kaplan
Episode No. 653 of The Modern Art Notes Podcast features critic and author Deborah Solomon and host Tyler Green's 2016 conversation with Frank Stella. Frank Stella died on May 4 at the age of 87. For two decades, from the late 1950s until the late 1970s or early 1980s, Stella was one of the United States' most important painters. The Museum of Modern Art, New York famously devoted two mid-career retrospectives to Stella's work, in 1970 and again in 1987. Solomon is a critic whose work can often be found in the New York Times, and the author of biographies of Jackson Pollock, Joseph Cornell, Norman Rockwell. Her biography of Jasper Johns is forthcoming. She wrote this critical obit of Stella for the NYT. The next segment is Stella's 2016 visit to the Modern Art Notes Podcast on the occasion of a Stella retrospective at the Modern Art Museum in Fort Worth. The exhibition traveled to the Whitney Museum of American Art, New York, and the de Young Museum, San Francisco.
Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with textile artist Maria Guzman Capron, as she discusses her journey from painting to textiles, influences from her multicultural background, her innovative textile design for the San Francisco Ballet, and her mission to incorporate craft into contemporary art.About Artist Maria Guzman Capron:Maria A. Guzmán Capron was born in Italy to Colombian and Peruvian parents. She received her MFA from California College of the Arts in 2015 and her BFA from the University of Houston in 2004. Select solo exhibitions include The San Francisco Museum of Modern Art, San Francisco, CA; the Blaffer Art Museum, Houston, TX; Shulamit Nazarian, Los Angeles, CA; Texas State Galleries, San Marcos, TX and Guerrero Gallery, San Francisco, CA. Select group exhibitions include Boston University, Boston, MA; Contemporary Jewish Museum, San Francisco; Berkeley Art Center, Berkeley, CA; Shulamit Nazarian, Los Angeles, CA; The Mistake Room, Los Angeles, CA; Public Gallery, London, UK; NIAD Art Center, Richmond, CA; CULT Aimee Friberg Exhibitions, San Francisco, CA; Deli Gallery in Brooklyn, NY; and Buffalo Institute for Contemporary Art, Buffalo, NY. Her works have been written about in Hyperallergic, Variable West, Bomb Magazine, and Art in America. Capron's work is in the collection of the de Young Museum, San Francisco, CA, the Jorge M. Pérez, Miami, FL, and the Speed Museum, Louisville, KY. As a 2022 recipient of SFMOMA's SECA Award, her exhibition Respira Hondo was presented at SFMOMA through May 2023.For more about Maria, CLICK HERE. Follow Maria on Instagram: @MariaGuzmanCapronLearn more about Maria's Scenic Curtain at the SF Ballet HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com
This week I talk with Ben Venom, textile artist and studio manager at The Space Program. We recorded our conversation in July 2023 at The Space Program's recording studio. About Ben Venom Ben Venom graduated from the San Francisco Art Institute in 2007 with a Master of Fine Arts degree. His work has been shown both nationally and internationally including the Levi Strauss Museum (Germany), National Folk Museum of Korea, HPGRP Gallery (Tokyo), Fort Wayne Museum, Charlotte Fogh Gallery (Denmark), Taubman Museum of Art, Gregg Museum of Art and Design, and the Craft and Folk Art Museum in Los Angeles. He has been interviewed by NPR: All Things Considered, Playboy, Juxtapoz Magazine, KQED, Maxim, and CBS Sunday Morning. Venom has lectured at the California College of Arts, the Frist Center for the Visual Arts, Midlands Art Centre, Humboldt State University, Oregon College of Art and Craft, and Adidas. Recently, he was the artist in residence at MASS MoCA and the de Young Museum. Ben Venom is currently Visiting Faculty at the San Francisco Art Institute. Show Notes https://www.benvenom.com/bio https://www.instagram.com/benvenom Problematic review of problematic Jason Rhoades' show in 2017 at Hauser & Wirth http://artobserved.com/2017/05/los-angeles-jason-rhoades-installations-1994-2006-at-hauser-wirth-los-angeles-through-may-21st-2017/ Art Date Substack: https://artdate.substack.com/ Art Date Social Club - Eventbrite page https://www.eventbrite.com/o/sarah-thibault-18411193477 --- Send in a voice message: https://podcasters.spotify.com/pod/show/thesidewoo/message
Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with India-born, Oakland based painter Rupy C. Tut. About Artist Rupy C. Tut:Rupy C. Tut is a painter dissecting historical and contemporary displacement narratives around identity, belonging, and gender. As a descendant of refugees and a first generation immigrant, Rupy's family narrative of movement, loss, and resilience is foundational to her creative inquiries. Tut's artistic practice expands, innovates, and reframes the traditions of Indian miniature painting. She mixes her own pigments and turns to hemp paper and linen to contend and make visible one's place in the world. Rupy C. Tut lives and works in Oakland, California. Her work has been presented through exhibitions and talks at the de Young Museum, San Francisco; Asian Art Museum, San Francisco; London City Hall; Stanford University; The Peel Art Gallery and Museum Archives, Toronto; a solo exhibition Rupy C. Tut: A Recipe for Brown Skin at the Triton Museum of Art, Santa Clara; and a solo exhibition Rupy C. Tut: Search and Rescue at Jessica Silverman, San Francisco. Rupy C. Tut is represented by Jessica Silverman.Visit Rupy's Website: RupyCTut.comFollow Rupy on Social Media: @RupyCTutFor more on Rupy's current & upcoming exhibits: Insitute of Contemporary Art San FranciscoAsian Art MuseumUCLA Fowler Museum--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com
Anna Sidana's artwork has been displayed in many famous, museums including de Young Museum in San Francisco and Times Square in New Year City. She has also received two Sheridan awards. Anna has a degree in engineering and has worked in the tech industry for years before becoming an artist. Here is a conversation with this talented artist. Host: Daphne Royse
Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with East Bay Artist David Huffman, a painter, installation artist and educator. About Artist David Huffman:David Huffman studied at the New York Studio School, New York, NY and the California College of the Arts and Crafts in Oakland, CA. He received his MFA at the California College of the Arts in San Francisco in 1999. Huffman has had solo shows at venues including, Miles McEnery Gallery, New York, NY (2019); Jessica Silverman Gallery, San Francisco, CA (2018); Worlds in Collision, Roberts and Tilton Gallery, Culver City, CA (2016). Recent group exhibitions include To the Hoop, Basketball and Contemporary Art, Weatherspoon Museum of Art, NC (upcoming); Ordinary Objects / Wild Things, de Young Museum, San Francisco, CA (2019); and Sidelined, Curated by Samuel Levi Jones, Galerie Lelong & Co, New York, NY (2018).In 2019, Huffman completed permanent commissions in Oakland and San Francisco at the Chase Center in collaboration with SFMOMA.His work may be found in the permanent collections of Arizona State University Art Museum, Arizona State University, Tempe Campus, Tempe, AZ; Berkeley Art Museum and Pacific Film Archive, University of; California, Berkeley, Berkeley, CA; Birmingham Museum of Art, Birmingham, AL; San Francisco Museum of Modern Art, San Francisco, CA; The Studio Museum in Harlem, New York, NY, among others.Visit David's Website: David-Huffman.comFollow David on Instagram: @DavidHuffmanStudioSee David's work through the Jessica Silverman Gallery--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com
To the landscape architect Walter Hood, “place” is a nebulous concept made meaningful only through the illumination of its history and the people who have inhabited it. Hood has dedicated his career to this very perspective through his roles as creative director and founder of Hood Design Studio in Oakland, California, and as chair of the Department of Landscape Architecture & Environmental Planning at UC Berkeley, where he has taught since 1990. His projects include a series of conceptual gardens at the International African American Museum in Charleston, South Carolina; the grounds of the campus of the tech company Nvidia in Santa Clara, California; and the landscape of San Francisco's de Young Museum in Golden Gate Park. Currently, he's at work on the wayfinding for the Barack Obama Presidential Library in Chicago; a new park in his hometown of Charlotte, North Carolina; and twin memorials for Emory University's campuses in Oxford and Atlanta, Georgia.On this episode, Hood discusses the intersection of social justice and landscape architecture, his arguments against what we traditionally deem “memorials” or “monuments,” and the power of language to literally shape the world around us.Special thanks to our Season 8 sponsor, Van Cleef & Arpels.Show notes: [03:34] Black Landscapes Matter[03:39] The World They Made Together[08:18] American Academy in Rome[08:27] Carthage[08:55] Loma Prieta Earthquake[13:48] Monticello[13:50] National Memorial for Peace and Justice[13:53] Gadsden's Wharf[14:28] Lorraine Motel[16:07] Montgomery County Justice Center[18:40] Double Sights[24:37] Macon Yards[25:32] The Power of Place[28:59] Confederate Obelisk[29:55] Splash Pad Park[30:16] Lafayette Square Park[38:21] International African American Museum[38:25] “Native(s)”[39:54] Water Table[40:51] McColl Park[42:28] Twin Memorials[47:11] Octagon House[48:43] de Young Museum[51:13] The Broad[54:14] The Future of Nostalgia[54:53] Blues & Jazz Landscape Improvisations[58:01] Solar Strand[01:06:02] Art Institute of Chicago
There's often a ton of art in medical spaces, but who are the curators of those health system collections? In s3e44, Platemark host Ann Shafer speaks with Naomi Huth, chief curator and director of the art collection for NYC Health + Hospitals. Held within the Arts in Medicine department, NYC Health + Hospitals has one of the largest public (non museum) art collections in New York City with more than 7,000 works of art, including a number of murals. Their goal is to make art accessible to the public and integrate the collection into healing environments across NYC Health + Hospitals' eleven acute care hospitals, five nursing homes, six diagnostic and treatment centers, and more than seventy community-based primary care sites. A major part of Naomi's job is to highlight the concepts of diversity and accessibility in collecting, collaboration, and mentoring emerging artists. She has focused on acquiring works by underrepresented artists to improve and diversify the collection as well as integrating diverse perspectives into the collection and fostering a better understanding of the issues of today through the lens of art. We talk about how art can reduce stress, offer peace, and help both patients and their families and medical staff members find moments of respite in busy and intense spaces. It's different yet not from being a museum curator. From 2012–2021, Naomi was the curator for the Joseph M. Cohen Family Collection, a large private collection with six locations around the United States. She has previously held curatorial positions at the New Museum, Museum of Arts and Design, Rubin Museum, and the de Young Museum. Naomi is a member of the Young Collectors Council acquisitions committee at the Guggenheim, the advisory board of the Center for Photography in Woodstock, Independent Curators International, and is an accredited member of the Appraisers Association of America. She earned her M.A. in Art History and Museum Studies from the City College of New York (CCNY) and her B.S. in Fashion Design and Art History from Drexel University. William Palmer. Function of a Hospital, 1934. Mural. NYC Health + Hospitals/Elmhurst Hospital Center, Queens. Georgette Seabrooke. Recreation in Harlem, 1936. Mural. NYC Health + Hospitals/Harlem Hospital Center, Manhattan. Angel Garcia. The Shoulders of Legacy, 2021. NYC Health + Hospitals/Harlem, Manhattan. Charles Alston. Man Emerging, 1969. Mural. NYC Health + Hospitals/Harlem Hospital Center, Manhattan. Staff wellness room, NYC Health + Hospitals/Kings County, Brooklyn. Linda LeKniff pastels in the pharmacy at NYC Health + Hospitals/Gotham Health, Morrisania, Bronx. Andy Warhol print at NYC Health + Hospitals/Bellevue, Manhattan. Oscar Lett. Origins and Today, 2019. Mural. NYC Health + Hospitals/Kings County, Brooklyn. Kristy McCarthy. Together We Heal, 2023. Mural located in the waiting room of the pediatric emergency department at NYC Health + Hospitals/South Brooklyn Health, Brooklyn. Fernando “Ski” Romero and Modesto Flako Jimenez. Guns Down, Life Up, 2023. NYC Health + Hospitals/Lincoln Hospital, Bronx. Fernando “Ski” Romero and Modesto Flako Jimenez. Guns Down, Life Up, 2023. NYC Health + Hospitals/Lincoln Hospital, Bronx. Keith Haring. 1986 mural at NYC Health + Hospitals/Woodhull, Brooklyn. USEFUL LINKS NYC Health + Hospitals Arts in Medicine department: https://www.nychealthandhospitals.org/artsinmedicine/ NYC Health + Hospitals Arts in Medicine art collection: https://www.nychealthandhospitals.org/artsinmedicine/art-collection/ NYC Health + Hospitals Arts in Medicine programs: https://www.nychealthandhospitals.org/artsinmedicine/programs/ NYC Health + Hospitals Arts in Medicine Bloomberg Connects app:https://www.nychealthandhospitals.org/artsinmedicine/programs/#artsInMedicineMobileApp Naomi Huth's IG: https://www.instagram.com/naomi__huth/
SF folks: join us at the AI Engineer Foundation's Emergency Hackathon tomorrow and consider the Newton if you'd like to cowork in the heart of the Cerebral Arena.Our community page is up to date as usual!~800,000 developers watched OpenAI Dev Day, ~8,000 of whom listened along live on our ThursdAI x Latent Space, and ~800 of whom got tickets to attend in person:OpenAI's first developer conference easily surpassed most people's lowballed expectations - they simply did everything short of announcing GPT-5, including:* ChatGPT (the consumer facing product)* GPT4 Turbo already in ChatGPT (running faster, with an April 2023 cutoff), all noticed by users weeks before the conference* Model picker eliminated, God Model chooses for you* GPTs - “tailored version of ChatGPT for a specific purpose” - stopping short of “Agents”. With custom instructions, expanded knowledge, and actions, and an intuitive no-code GPT Builder UI (we tried all these on our livestream yesterday and found some issues, but also were able to ship interesting GPTs very quickly) and a GPT store with revenue sharing (an important criticism we focused on in our episode on ChatGPT Plugins)* API (the developer facing product)* APIs for Dall-E 3, GPT4 Vision, Code Interpreter (RIP Advanced Data Analysis), GPT4 Finetuning and (surprise!) Text to Speech* many thought each of these would take much longer to arrive* usable in curl and in playground* BYO Interpreter + Async Agents?* Assistant API: stateful API backing “GPTs” like apps, with support for calling multiple tools in parallel, persistent Threads (storing message history, unlimited context window with some asterisks), and uploading/accessing Files (with a possibly-too-simple RAG algorithm, and expensive pricing)* Whisper 3 announced and open sourced (HuggingFace recap)* Price drops for a bunch of things!* Misc: Custom Models for big spending ($2-3m) customers, Copyright Shield, SatyaThe progress here feels fast, but it is mostly (incredible) last-mile execution on model capabilities that we already knew to exist. On reflection it is important to understand that the one guiding principle of OpenAI, even more than being Open (we address that in part 2 of today's pod), is that slow takeoff of AGI is the best scenario for humanity, and that this is what slow takeoff looks like:When introducing GPTs, Sam was careful to assert that “gradual iterative deployment is the best way to address the safety challenges with AI”:This is why, in fact, GPTs and Assistants are intentionally underpowered, and it is a useful exercise to consider what else OpenAI continues to consider dangerous (for example, many people consider a while(true) loop a core driver of an agent, which GPTs conspicuously lack, though Lilian Weng of OpenAI does not).We convened the crew to deliver the best recap of OpenAI Dev Day in Latent Space pod style, with a 1hr deep dive with the Functions pod crew from 5 months ago, and then another hour with past and future guests live from the venue itself, discussing various elements of how these updates affect their thinking and startups. Enjoy!Show Notes* swyx live thread (see pinned messages in Twitter Space for extra links from community)* Newton AI Coworking Interest Form in the heart of the Cerebral ArenaTimestamps* [00:00:00] Introduction* [00:01:59] Part I: Latent Space Pod Recap* [00:06:16] GPT4 Turbo and Assistant API* [00:13:45] JSON mode* [00:15:39] Plugins vs GPT Actions* [00:16:48] What is a "GPT"?* [00:21:02] Criticism: the God Model* [00:22:48] Criticism: ChatGPT changes* [00:25:59] "GPTs" is a genius marketing move* [00:26:59] RIP Advanced Data Analysis* [00:28:50] GPT Creator as AI Prompt Engineer* [00:31:16] Zapier and Prompt Injection* [00:34:09] Copyright Shield* [00:38:03] Sharable GPTs solve the API distribution issue* [00:39:07] Voice* [00:44:59] Vision* [00:49:48] In person experience* [00:55:11] Part II: Spot Interviews* [00:56:05] Jim Fan (Nvidia - High Level Takeaways)* [01:05:35] Raza Habib (Humanloop) - Foundation Model Ops* [01:13:59] Surya Dantuluri (Stealth) - RIP Plugins* [01:21:20] Reid Robinson (Zapier) - AI Actions for GPTs* [01:31:19] Div Garg (MultiOn) - GPT4V for Agents* [01:37:15] Louis Knight-Webb (Bloop.ai) - AI Code Search* [01:49:21] Shreya Rajpal (Guardrails.ai) - on Hallucinations* [01:59:51] Alex Volkov (Weights & Biases, ThursdAI) - "Keeping AI Open"* [02:10:26] Rahul Sonwalkar (Julius AI) - Advice for FoundersTranscript[00:00:00] Introduction[00:00:00] swyx: Hey everyone, this is Swyx coming at you live from the Newton, which is in the heart of the Cerebral Arena. It is a new AI co working space that I and a couple of friends are working out of. There are hot desks available if you're interested, just check the show notes. But otherwise, obviously, it's been 24 hours since the opening of Dev Day, a lot of hot reactions and longstanding tradition, one of the longest traditions we've had.[00:00:29] And the latent space pod is to convene emergency sessions and record the live thoughts of developers and founders going through and processing in real time. I think a lot of the roles of podcasts isn't as perfect information delivery channels, but really as an audio and oral history of what's going on as it happens, while it happens.[00:00:49] So this one's a little unusual. Previously, we only just gathered on Twitter Spaces, and then just had a bunch of people. The last one was the Code Interpreter one with 22, 000 people showed up. But this one is a little bit more complicated because there's an in person element and then a online element.[00:01:06] So this is a two part episode. The first part is a recorded session between our latent space people and Simon Willison and Alex Volkoff from the Thursday iPod, just kind of recapping the day. But then also, as the second hour, I managed to get a bunch of interviews with previous guests on the pod who we're still friends with and some new people that we haven't yet had on the pod.[00:01:28] But I wanted to just get their quick reactions because most of you have known and loved Jim Fan and Div Garg and a bunch of other folks that we interviewed. So I just want to, I'm excited to introduce To you the broader scope of what it's like to be at OpenAI Dev Day in person bring you the audio experience as well as give you some of the thoughts that developers are having as they process the announcements from OpenAI.[00:01:51] So first off, we have the Mainspace Pod recap. One hour of open I dev day.[00:01:59] Part I: Latent Space Pod Recap[00:01:59] Alessio: Hey. Welcome to the Latents Based Podcast an emergency edition after OpenAI Dev Day. This is Alessio, partner and CTO of Residence at Decibel Partners, and as usual, I'm joined by Swyx, founder of SmallAI. Hey,[00:02:12] swyx: and today we have two special guests with us covering all the latest and greatest.[00:02:17] We, we, we love to get our band together and recap things, especially when they're big. And it seems like that every three months we have to do this. So Alex, welcome. From Thursday AI we've been collaborating a lot on the Twitter spaces and welcome Simon from many, many things, but also I think you're the first person to not, not make four appearances on our pod.[00:02:37] Oh, wow. I feel privileged. So welcome. Yeah, I think we're all there yesterday. How... Do we feel like, what do you want to kick off with? Maybe Simon, you want to, you want to take first and then Alex. Sure. Yeah. I mean,[00:02:47] Simon Willison: yesterday was quite exhausting, quite frankly. I feel like it's going to take us as a community several months just to completely absorb all of the stuff that they dropped on us in one giant.[00:02:57] Giant batch. It's particularly impressive considering they launched a ton of features, what, three or four weeks ago? ChatGPT voice and the combined mode and all of that kind of thing. And then they followed up with everything from yesterday. That said, now that I've started digging into the stuff that they released yesterday, some of it is clearly in need of a bit more polish.[00:03:15] You know, the the, the reality of what they look, what they released is I'd say about 80 percent of, of what it looks like it was yesterday, which is still impressive. You know, don't get me wrong. This is an amazing batch of stuff, but there are definitely problems and sharp edges that we need to file off.[00:03:29] And there are things that we still need to figure out before we can take advantage of all of this.[00:03:33] swyx: Yeah, agreed, agreed. And we can go into those, those sharp edges in a bit. I just want to pop over to Alex. What are your thoughts?[00:03:39] Alex Volkov: So, interestingly, even folks at OpenAI, there's like several booths and help desks so you can go in and ask people, like, actual changes and people, like, they could follow up with, like, the right people in OpenAI and, like, answer you back, etc.[00:03:52] Even some of them didn't know about all the changes. So I went to the voice and audio booth. And I asked them about, like, hey, is Whisper 3 that was announced by Sam Altman on stage just, like, briefly, will that be open source? Because I'm, you know, I love using Whisper. And they're like, oh, did we open source?[00:04:06] Did we talk about Whisper 3? Like, some of them didn't even know what they were releasing. But overall, I felt it was a very tightly run event. Like, I was really impressed. Shawn, we were sitting in the audience, and you, like, pointed at the clock to me when they finished. They finished, like, on... And this was after like doing some extra stuff.[00:04:24] Very, very impressive for a first event. Like I was absolutely like, Good job.[00:04:30] swyx: Yeah, apparently it was their first keynote and someone, I think, was it you that told me that this is what happens if you have A president of Y Combinator do a proper keynote you know, having seen many, many, many presentations by other startups this is sort of the sort of master stroke.[00:04:46] Yeah, Alessio, I think you were watching remotely. Yeah, we were at the Newton. Yeah, the Newton.[00:04:52] Alessio: Yeah, I think we had 60 people here at the watch party, so it was quite a big crowd. Mixed reaction from different... Founders and people, depending on what was being announced on the page. But I think everybody walked away kind of really happy with a new layer of interfaces they can use.[00:05:11] I think, to me, the biggest takeaway was like and I was talking with Mike Conover, another friend of the podcast, about this is they're kind of staying in the single threaded, like, synchronous use cases lane, you know? Like, the GPDs announcement are all like... Still, chatbase, one on one synchronous things.[00:05:28] I was expecting, maybe, something about async things, like background running agents, things like that. But it's interesting to see there was nothing of that, so. I think if you're a founder in that space, you're, you're quite excited. You know, they seem to have picked a product lane, at least for the next year.[00:05:45] So, if you're working on... Async experiences, so things working in the background, things that are not co pilot like, I think you're quite excited to have them be a lot cheaper now.[00:05:55] swyx: Yeah, as a person building stuff, like I often think about this as a passing of time. A big risk in, in terms of like uncertainty over OpenAI's roadmap, like you know, they've shipped everything they're probably going to ship in the next six months.[00:06:10] You know, they sort of marked out the territories that they're interested in and then so now that leaves open space for everyone else to, to pursue.[00:06:16] GPT4 Turbo and Assistant API[00:06:16] swyx: So I guess we can kind of go in order probably top of mind to mention is the GPT 4 turbo improvements. Yeah, so longer context length, cheaper price.[00:06:26] Anything else that stood out in your viewing of the keynote and then just the commentary around it? I[00:06:34] Alex Volkov: was I was waiting for Stateful. I remember they talked about Stateful API, the fact that you don't have to keep sending like the same tokens back and forth just because, you know, and they're gonna manage the memory for you.[00:06:45] So I was waiting for that. I knew it was coming at some point. I was kind of... I did not expect it to come at this event. I don't know why. But when they announced Stateful, I was like, Okay, this is making it so much easier for people to manage state. The whole threads I don't want to mix between the two things, so maybe you guys can clarify, but there's the GPT 4 tool, which is the model that has the capabilities, In a whopping 128k, like, context length, right?[00:07:11] It's huge. It's like two and a half books. But also, you know, faster, cheaper, etc. I haven't yet tested the fasterness, but like, everybody's excited about that. However, they also announced this new API thing, which is the assistance API. And part of it is threads, which is, we'll manage the thread for you.[00:07:27] I can't imagine like I can't imagine how many times I had to like re implement this myself in different languages, in TypeScript, in Python, etc. And now it's like, it's so easy. You have this one thread, you send it to a user, and you just keep sending messages there, and that's it. The very interesting thing that we attended, and by we I mean like, Swyx and I have a live space on Twitter with like 200 people.[00:07:46] So it's like me, Swyx, and 200 people in our earphones with us as well. They kept asking like, well, how's the price happening? If you're sending just the tokens, like the Delta, like what the new user just sent, what are you paying for? And I went to OpenAI people, and I was like, hey... How do we get paid for this?[00:08:01] And nobody knew, nobody knew, and I finally got an answer. You still pay for the whole context that you have inside the thread. You still pay for all this, but now it's a little bit more complex for you to kind of count with TikTok, right? So you have to hit another API endpoint to get the whole thread of what the context is.[00:08:17] Then TikTokonize this, run this in TikTok, and then calculate. This is now the new way, officially, for OpenAI. But I really did, like, have to go and find this. They didn't know a lot of, like, how the pricing is. Ouch! Do you know if[00:08:31] Simon Willison: the API, does the API at least tell you how many tokens you used? Or is it entirely up to you to do the accounting?[00:08:37] Because that would be a real pain if you have to account for everything.[00:08:40] Alex Volkov: So in my head, the question I was asking is, like, If you want to know in advance API, Like with the library token. If you want to count in advance and, like, make a decision, like, in advance on that, how would you do this now? And they said, well, yeah, there's a way.[00:08:54] If you hit the API, get the whole thread back, then count the tokens. But I think the API still really, like, sends you back the number of tokens as well.[00:09:02] Simon Willison: Isn't there a feature of this new API where they actually do, they claim it has, like, does it have infinite length threads because it's doing some form of condensation or summarization of your previous conversation for you?[00:09:15] I heard that from somewhere, but I haven't confirmed it yet.[00:09:18] swyx: So I have, I have a source from Dave Valdman. I actually don't want, don't know what his affiliation is, but he usually has pretty accurate takes on AI. So I, I think he works in the iCircles in some capacity. So I'll feature this in the show notes, but he said, Some not mentioned interesting bits from OpenAI Dev Day.[00:09:33] One unlimited. context window and chat threads from opening our docs. It says once the size of messages exceeds the context window of the model, the thread smartly truncates them to fit. I'm not sure I want that intelligence.[00:09:44] Alex Volkov: I want to chime in here just real quick. The not want this intelligence. I heard this from multiple people over the next conversation that I had. Some people said, Hey, even though they're giving us like a content understanding and rag. We are doing different things. Some people said this with Vision as well.[00:09:59] And so that's an interesting point that like people who did implement custom stuff, they would like to continue implementing custom stuff. That's also like an additional point that I've heard people talk about.[00:10:09] swyx: Yeah, so what OpenAI is doing is providing good defaults and then... Well, good is questionable.[00:10:14] We'll talk about that. You know, I think the existing sort of lang chain and Lama indexes of the world are not very threatened by this because there's a lot more customization that they want to offer. Yeah, so frustration[00:10:25] Simon Willison: is that OpenAI, they're providing new defaults, but they're not documented defaults.[00:10:30] Like they haven't told us how their RAG implementation works. Like, how are they chunking the documents? How are they doing retrieval? Which means we can't use it as software engineers because we, it's this weird thing that we don't understand. And there's no reason not to tell us that. Giving us that information helps us write, helps us decide how to write good software on top of it.[00:10:48] So that's kind of frustrating. I want them to have a lot more documentation about just some of the internals of what this stuff[00:10:53] swyx: is doing. Yeah, I want to highlight.[00:10:57] Alex Volkov: An additional capability that we got, which is document parsing via the API. I was, like, blown away by this, right? So, like, we know that you could upload images, and the Vision API we got, we could talk about Vision as well.[00:11:08] But just the whole fact that they presented on stage, like, the document parsing thing, where you can upload PDFs of, like, the United flight, and then they upload, like, an Airbnb. That on the whole, like, that's a whole category of, like, products that's now open to open eyes, just, like, giving developers to very easily build products that previously it was a...[00:11:24] Pain in the butt for many, many people. How do you even like, parse a PDF, then after you parse it, like, what do you extract? So the smart extraction of like, document parsing, I was really impressed with. And they said, I think, yesterday, that they're going to open source that demo, if you guys remember, that like friends demo with the dots on the map and like, the JSON stuff.[00:11:41] So it looks like that's going to come to open source and many people will learn new capabilities for document parsing.[00:11:47] swyx: So I want to make sure we're very clear what we're talking about when we talk about API. When you say API, there's no actual endpoint that does this, right? You're talking about the chat GPT's GPT's functionality.[00:11:58] Alex Volkov: No, I'm talking about the assistance API. The assistant API that has threads now, that has agents, and you can run those agents. I actually, maybe let's clarify this point. I think I had to, somebody had to clarify this for me. There's the GPT's. Which is a UI version of running agents. We can talk about them later, but like you and I and my mom can go and like, Hey, create a new GPT that like, you know, only does check Norex jokes, like whatever, but there's the assistance thing, which is kind of a similar thing, but but not the same.[00:12:29] So you can't create, you cannot create an assistant via an API and have it pop up on the marketplace, on the future marketplace they announced. How can you not? No, no, no, not via the API. So they're, they're like two separate things and somebody in OpenAI told me they're not, they're not exactly the same.[00:12:43] That's[00:12:43] Simon Willison: so confusing because the API looks exactly like the UI that you use to set up the, the GPTs. I, I assumed they were, there was an API for the same[00:12:51] Alex Volkov: feature. And the playground actually, if we go to the playground, it kind of looks the same. There's like the configurable thing. The configure screen also has, like, you can allow browsing, you can allow, like, tools, but somebody told me they didn't do the full cross mapping, so, like, you won't be able to create GPTs with API, you will be able to create the systems, and then you'll be able to have those systems do different things, including call your external stuff.[00:13:13] So that was pretty cool. So this API is called the system API. That's what we get, like, in addition to the model of the GPT 4 turbo. And that has document parsing. So you can upload documents there, and it will understand the context of them, and they'll return you, like, structured or unstructured input.[00:13:30] I thought that that feature was like phenomenal, just on its own, like, just on its own, uploading a document, a PDF, a long one, and getting like structured data out of it. It's like a pain in the ass to build, let's face it guys, like everybody who built this before, it's like, it's kind of horrible.[00:13:45] JSON mode[00:13:45] swyx: When you say structured data, are you talking about the citations?[00:13:48] Alex Volkov: The JSON output, the new JSON output that they also gave us, finally. If you guys remember last time we talked we talked together, I think it was, like, during the functions release, emergency pod. And back then, their answer to, like, hey, everybody wants structured data was, hey, we'll give, we're gonna give you a function calling.[00:14:03] And now, they did both. They gave us both, like, a JSON output, like, structure. So, like, you can, the models are actually going to return JSON. Haven't played with it myself, but that's what they announced. And the second thing is, they improved the function calling. Significantly as well.[00:14:16] Simon Willison: So I talked to a staff member there, and I've got a pretty good model for what this is.[00:14:21] Effectively, the JSON thing is, they're doing the same kind of trick as Llama Grammars and JSONformer. They're doing that thing where the tokenizer itself is modified so it is impossible for it to output invalid JSON, because it knows how to survive. Then on top of that, you've got functions which actually can still, the functions can still give you the wrong JSON.[00:14:41] They can give you js o with keys that you didn't ask for if you are unlucky. But at least it will be valid. At least it'll pass through a json passer. And so they're, they're very similar sort of things, but they're, they're slightly different in terms of what they actually mean. And yeah, the new function stuff is, is super exciting.[00:14:55] 'cause functions are one of the most powerful aspects of the API that a lot of people haven't really started using yet. But it's amazingly powerful what you can do with it.[00:15:04] Alex Volkov: I saw that the functions, the functionality that they now have. is also plug in able as actions to those assistants. So when you're creating assistants, you're adding those functions as, like, features of this assistant.[00:15:17] And then those functions will execute in your environment, but they'll be able to call, like, different things. Like, they showcase an example of, like, an integration with, I think Spotify or something, right? And that was, like, an internal function that ran. But it is confusing, the kind of, the online assistant.[00:15:32] APIable agents and the GPT's agents. So I think it's a little confusing because they demoed both. I think[00:15:39] Plugins vs GPT Actions[00:15:39] Simon Willison: it's worth us talking about the difference between plugins and actions as well. Because, you know, they launched plugins, what, back in February. And they've effectively... They've kind of deprecated plugins.[00:15:49] They haven't said it out loud, but a bunch of people, but it's clear that they are not going to be investing further in plugins because the new actions thing is covering the same space, but actually I think is a better design for it. Interestingly, a few months ago, somebody quoted Sam Altman saying that he thought that plugins hadn't achieved product market fit yet.[00:16:06] And I feel like that's sort of what we're seeing today. The the problem with plugins is it was all a little bit messy. People would pick and mix the plugins that they needed. Nobody really knew which plugin combinations would work. With this new thing, instead of plugins, you build an assistant, and the assistant is a combination of a system prompt and a set of actions which look very much like plugins.[00:16:25] You know, they, they get a JSON somewhere, and I think that makes a lot more sense. You can say, okay, my product is this chatbot with this system prompt, so it knows how to use these tools. I've given it this combination of plugin like things that it can use. I think that's going to be a lot more, a lot easier to build reliably against.[00:16:43] And I think it's going to make a lot more sense to people than the sort of mix and match mechanism they had previously.[00:16:48] What is a "GPT"?[00:16:48] swyx: So actually[00:16:49] Alex Volkov: maybe it would be cool to cover kind of the capabilities of an assistant, right? So you have a custom prompt, which is akin to a system message. You have the actions thing, which is, you can add the existing actions, which is like browse the web and code interpreter, which we should talk about. Like, the system now can write code and execute it, which is exciting. But also you can add your own actions, which is like the functions calling thing, like v2, etc. Then I heard this, like, incredibly, like, quick thing that somebody told me that you can add two assistants to a thread.[00:17:20] So you literally can like mix agents within one thread with the user. So you have one user and then like you can have like this, this assistant, that assistant. They just glanced over this and I was like, that, that is very interesting. That is not very interesting. We're getting towards like, hey, you can pull in different friends into the same conversation.[00:17:37] Everybody does the different thing. What other capabilities do we have there? You guys remember? Oh Remember, like, context. Uploading API documentation.[00:17:48] Simon Willison: Well, that one's a bit more complicated. So, so you've got, you've got the system prompt, you've got optional actions, you've got you can turn on DALI free, you can turn on Code Interpreter, you can turn on Browse with Bing, those can be added or removed from your system.[00:18:00] And then you can upload files into it. And the files can be used in two different ways. You can... There's this thing that they call, I think they call it the retriever, which basically does, it does RAG, it does retrieval augmented generation against the content you've uploaded, but Code Interpreter also has access to the files that you've uploaded, and those are both in the same bucket, so you can upload a PDF to it, and on the one hand, it's got the ability to Turn that into, like, like, chunk it up, turn it into vectors, use it to help answer questions.[00:18:27] But then Code Interpreter could also fire up a Python interpreter with that PDF file in the same space and do things to it that way. And it's kind of weird that they chose to combine both of those things. Also, the limits are amazing, right? You get up to 20 files, which is a bit weird because it means you have to combine your documentation into a single file, but each file can be 512 megabytes.[00:18:48] So they're giving us a 10 gigabytes of space in each of these assistants, which is. Vast, right? And of course, I tested, it'll handle SQLite databases. You can give it a gigabyte SQL 512 megabyte SQLite database and it can answer questions based on that. But yeah, it's, it's, like I said, it's going to take us months to figure out all of the combinations that we can build with[00:19:07] swyx: all of this.[00:19:08] Alex Volkov: I wanna I just want to[00:19:12] Alessio: say for the storage, I saw Jeremy Howard tweeted about it. It's like 20 cents per gigabyte per system per day. Just in... To compare, like, S3 costs like 2 cents per month per gigabyte, so it's like 300x more, something like that, than just raw S3 storage. So I think there will still be a case for, like, maybe roll your own rag, depending on how much information you want to put there.[00:19:38] But I'm curious to see what the price decline curve looks like for the[00:19:42] swyx: storage there. Yeah, they probably should just charge that at cost. There's no reason for them to charge so much.[00:19:50] Simon Willison: That is wildly expensive. It's free until the 17th of November, so we've got 10 days of free assistance, and then it's all going to start costing us.[00:20:00] Crikey. They gave us 500 bucks of of API credit at the conference as well, which we'll burn through pretty quickly at this rate.[00:20:07] swyx: Yep.[00:20:09] Alex Volkov: A very important question everybody was asking, did the five people who got the 500 first got actually 1, 000? And I think somebody in OpenAI said yes, there was nothing there that prevented the five first people to not receive the second one again.[00:20:21] I[00:20:22] swyx: met one of them. I met one of them. He said he only got 500. Ah,[00:20:25] Alex Volkov: interesting. Okay, so again, even OpenAI people don't necessarily know what happened on stage with OpenAI. Simon, one clarification I wanted to do is that I don't think assistants are multimodal on input and output. So you do have vision, I believe.[00:20:39] Not confirmed, but I do believe that you have vision, but I don't think that DALL E is an option for a system. It is an option for GPTs, but the guy... Oh, that's so confusing! The systems, the checkbox for DALL E is not there. You cannot enable it.[00:20:54] swyx: But you just add them as a tool, right? So, like, it's just one more...[00:20:58] It's a little finicky... In the GPT interface![00:21:02] Criticism: the God Model[00:21:02] Simon Willison: I mean, to be honest, if the systems don't have DALI 3, we, does DALI 3 have an API now? I think they released one. I can't, there's so much stuff that got lost in the pile. But yeah, so, Coded Interpreter. Wow! That I was not expecting. That's, that's huge. Assuming.[00:21:20] I mean, I haven't tried it yet. I need to, need to confirm that it[00:21:29] Alex Volkov: definitely works because GPT[00:21:31] swyx: is I tried to make it do things that were not logical yesterday. Because one of the risks of having the God model is it calls... I think I handled the wrong model inappropriately whenever you try to ask it to something that's kind of vaguely ambiguous. But I thought I thought it handled the job decently well.[00:21:50] Like you know, I I think there's still going to be rough edges. Like it's going to try to draw things. It's going to try to code when you don't actually want to. And. In a sense, OpenAI is kind of removing that capability from ChargeGPT. Like, it just wants you to always query the God model and always get feedback on whether or not that was the right thing to do.[00:22:09] Which really[00:22:10] Simon Willison: sucks. Because it runs... I like ask it a question and it goes, Oh, searching Bing. And I'm like, No, don't search Bing. I know that the first 10 results on Bing will not solve this question. I know you know the answer. So I had to build my own custom GPT that just turns off Bing. Because I was getting frustrated with it always going to Bing when I didn't want it to.[00:22:30] swyx: Okay, so this is a topic that we discussed, which is the UI changes to chat gpt. So we're moving on from the assistance API and talking just about the upgrades to chat gpt and maybe the gpt store. You did not like it.[00:22:44] Alex Volkov: And I loved it. I'm gonna take both sides of this, yeah.[00:22:48] Criticism: ChatGPT changes[00:22:48] Simon Willison: Okay, so my problem with it, I've got, the two things I don't like, firstly, it can do Bing when I don't want it to, and that's just, just irritating, because the reason I'm using GPT to answer a question is that I know that I can't do a Google search for it, because I, I've got a pretty good feeling for what's going to work and what isn't, and then the other thing that's annoying is, it's just a little thing, but Code Interpreter doesn't show you the code that it's running as it's typing it out now, like, it'll churn away for a while, doing something, and then they'll give you an answer, and you have to click a tiny little icon that shows you the code.[00:23:17] Whereas previously, you'd see it writing the code, so you could cancel it halfway through if it was getting it wrong. And okay, I'm a Python programmer, so I care, and most people don't. But that's been a bit annoying.[00:23:26] swyx: Yeah, and when it errors, it doesn't tell you what the error is. It just says analysis failed, and it tries again.[00:23:32] But it's really hard for us to help it.[00:23:34] Simon Willison: Yeah. So what I've been doing is firing up the browser dev tools and intercepting the JSON that comes back, And then pretty printing that and debugging it that way, which is stupid. Like, why do I have to do[00:23:45] Alex Volkov: that? Totally good feedback for OpenAI. I will tell you guys what I loved about this unified mode.[00:23:49] I have a name for it. So we actually got a preview of this on Sunday. And one of the, one of the folks got, got like an early example of this. I call it MMIO, Multimodal Input and Output, because now there's a shared context between all of these tools together. And I think it's not only about selecting them just selecting them.[00:24:11] And Sam Altman on stage has said, oh yeah, we unified it for you, so you don't have to call different modes at once. And in my head, that's not all they did. They gave a shared context. So what is an example of shared context, for example? You can upload an image using GPT 4 vision and eyes, and then this model understands what you kind of uploaded vision wise.[00:24:28] Then you can ask DALI to draw that thing. So there's no text shared in between those modes now. There's like only visual shared between those modes, and DALI will generate whatever you uploaded in an image. So like it's eyes to output visually. And you can mix the things as well. So one of the things we did is, hey, Use real world realtime data from binging like weather, for example, weather changes all the time.[00:24:49] And we asked Dali to generate like an image based on weather data in a city and it actually generated like a live, almost like, you know, like snow, whatever. It was snowing in Denver. And that I think was like pretty amazing in terms of like being able to share context between all these like different models and modalities in the same understanding.[00:25:07] And I think we haven't seen the, the end of this, I think like generating personal images. Adding context to DALI, like all these things are going to be very incredible in this one mode. I think it's very, very powerful.[00:25:19] Simon Willison: I think that's really cool. I just want to opt in as opposed to opt out. Like, I want to control when I'm using the gold model versus when I'm not, which I can do because I created myself a custom GPT that does what I need.[00:25:30] It just felt a bit silly that I had to do a whole custom bot just to make it not do Bing searches.[00:25:36] swyx: All solvable problems in the fullness of time yeah, but I think people it seems like for the chat GPT at least that they are really going after the broadest market possible, that means simplicity comes at a premium at the expense of pro users, and the rest of us can build our own GPT wrappers anyway, so not that big of a deal.[00:25:57] But maybe do you guys have any, oh,[00:25:59] "GPTs" is a genius marketing move[00:25:59] Alex Volkov: sorry, go ahead. So, the GPT wrappers thing. Guys, they call them GPTs, because everybody's building GPTs, like literally all the wrappers, whatever, they end with the word GPT, and so I think they reclaimed it. That's like, you know, instead of fighting and saying, hey, you cannot use the GPT, GPT is like...[00:26:15] We have GPTs now. This is our marketplace. Whatever everybody else builds, we have the marketplace. This is our thing. I think they did like a whole marketing move here that's significant.[00:26:24] swyx: It's a very strong marketing move. Because now it's called Canva GPT. It's called Zapier GPT. And they're basically saying, Don't build your own websites.[00:26:32] Build it inside of our Goddard app, which is chatGPT. And and that's the way that we want you to do that. Right. In a[00:26:39] Simon Willison: way, it sort of makes up... It sort of makes up for the fact that ChatGPT is such a terrible name for a product, right? ChatGPT, what were they thinking when they came up with that name?[00:26:48] But I guess if they lean into it, it makes a little bit more sense. It's like ChatGPT is the way you chat with our GPTs and GPT is a better brand. And it's terrible, but it's not. It's a better brand than ChatGPT was.[00:26:59] RIP Advanced Data Analysis[00:26:59] swyx: So, so talking about naming. Yeah. Yeah. Simon, actually, so for those listeners that we're.[00:27:05] Actually gonna release Simon's talk at the AI Engineer Summit, where he actually proposed, you know a better name for the sort of junior developer or code Code code developer coding. Coding intern.[00:27:16] Simon Willison: Coding intern. Coding intern, yeah. Coding intern, was it? Yeah. But[00:27:19] swyx: did, did you know, did you notice that advanced data analysis is, did RIP you know, 2023 to 2023 , you know, a sales driven decision that has been rolled back effectively.[00:27:29] 'cause now everything's just called.[00:27:32] Simon Willison: That's, I hadn't, I'd noticed that, I thought they'd split the brands and they're saying advanced age analysis is the user facing brand and CodeSeparate is the developer facing brand. But now if they, have they ditched that from the interface then?[00:27:43] Alex Volkov: Yeah. Wow. So it's unified mode.[00:27:45] Yeah. Yeah. So like in the unified mode, there's no selection anymore. Right. You just get all tools at once. So there's no reason.[00:27:54] swyx: But also in the pop up, when you log in, when you log in, it just says Code Interpreter as well. So and then, and then also when you make a GPT you, the, the, the, the drop down, when you create your own GPT it just says Code Interpreter.[00:28:06] It also doesn't say it. You're right. Yeah. They ditched the brand. Good Lord. On the UI. Yeah. So oh, that's, that's amazing. Okay. Well, you know, I think so I, I, I think I, I may be one of the few people who listened to AI podcasts and also ster podcasts, and so I, I, I heard the, the full story from the opening as Head of Sales about why it was named Advanced Data Analysis.[00:28:26] It was, I saw that, yeah. Yeah. There's a bit of civil resistance, I think from the. engineers in the room.[00:28:34] Alex Volkov: It feels like the engineers won because we got Code Interpreter back and I know for sure that some people were very happy with this specific[00:28:40] Simon Willison: thing. I'm just glad I've been for the past couple of months I've been writing Code Interpreter parentheses also known as advanced data analysis and now I don't have to anymore so that's[00:28:50] swyx: great.[00:28:50] GPT Creator as AI Prompt Engineer[00:28:50] swyx: Yeah, yeah, it's back. Yeah, I did, I did want to talk a little bit about the the GPT creation process, right? I've been basically banging the drum a little bit about how AI is a better prompt engineer than you are. And sorry, my. Speaking over Simon because I'm lagging. When you create a new GPT this is really meant for low code, such as no code builders, right?[00:29:10] It's really, I guess, no code at all. Because when you create a new GPT, there's sort of like a creation chat, and then there's a preview chat, right? And the creation chat kind of guides you through the wizard. Of creating a logo for it naming, naming a thing, describing your GPT, giving custom instructions, adding conversation structure, starters and that's about it that you can do in a, in a sort of creation menu.[00:29:31] But I think that is way better than filling out a form. Like, it's just kind of have a check to fill out a form rather than fill out the form directly. And I think that's really good. And then you can sort of preview that directly. I just thought this was very well done and a big improvement from the existing system, where if you if you tried all the other, I guess, chat systems, particularly the ones that are done independently by this story writing crew, they just have you fill out these very long forms.[00:29:58] It's kind of like the match. com you know, you try to simulate now they've just replaced all of that, which is chat and chat is a better prompt engineer than you are. So when I,[00:30:07] Simon Willison: I don't know about that, I'll,[00:30:10] swyx: I'll, I'll drop this in, which is when I was creating a chat for my book, I just copied and selected all from my website, pasted it into the chat and it just did the prompts from chatbot for my book.[00:30:21] Right? So like, I don't have to structurally, I don't have to structure it. I can just dump info in it and it just does the thing. It fills in the form[00:30:30] Alex Volkov: for you.[00:30:33] Simon Willison: Yeah did that come through?[00:30:34] swyx: Yes[00:30:35] Simon Willison: no it doesn't. Yeah I built the first one of these things using the chatbot. Literally, on the bot, on my phone, I built a working, like, like, bot.[00:30:44] It was very impressive. And then the next three I built using the form. Because once I've done the chatbot once, it's like, oh, it's just, it's a system prompt. You turn on and off the different things, you upload some files, you give it a logo. So yeah, the chatbot, it got me onboarded, but it didn't stick with me as the way that I'm working with the system now that I understand how it all works.[00:31:00] swyx: I understand. Yeah, I agree with that. I guess, again, this is all about the total newbie user, right? Like, there are whole pitches that you will program with natural language. And even the form... And for that, it worked.[00:31:12] Simon Willison: Yeah, that did work really well.[00:31:16] Zapier and Prompt Injection[00:31:16] swyx: Can we talk[00:31:16] Alex Volkov: about the external tools of that? Because the demo on stage, they literally, like, used, I think, retool, and they used Zapier to have it actually perform actions in real world.[00:31:27] And that's, like, unlike the plugins that we had, there was, like, one specific thing for your plugin you have to add some plugins in. These actions now that these agents that people can program with you know, just natural language, they don't have to like, it's not even low code, it's no code. They now have tools and abilities in the actual world to do things.[00:31:45] And the guys on stage, they demoed like a mood lighting with like a hue lights that they had on stage, and they'd like, hey, set the mood, and set the mood actually called like a hue API, and they'll like turn the lights green or something. And then they also had the Spotify API. And so I guess this demo wasn't live streamed, right?[00:32:03] Swyx was live. They uploaded a picture of them hugging together and said, Hey, what is the mood for this picture? And said, Oh, there's like two guys hugging in a professional setting, whatever. So they created like a list of songs for them to play. And then they hit Spotify API to actually start playing this.[00:32:17] All within like a second of a live demo. I thought it was very impressive for a low code thing. They probably already connected the API behind the scenes. So, you know, just like low code, it's not really no code. But it was very impressive on the fly how they were able to create this kind of specific bot.[00:32:32] Simon Willison: On the one hand, yes, it was super, super cool. I can't wait to try that. On the other hand, it was a prompt injection nightmare. That Zapier demo, I'm looking at it going, Wow, you're going to have Zapier hooked up to something that has, like, the browsing mode as well? Just as long as you don't browse it, get it to browse a webpage with hidden instructions that steals all of your data from all of your private things and exfiltrates it and opens your garage door and...[00:32:56] Set your lighting to dark red. It's a nightmare. They didn't acknowledge that at all as part of those demos, which I thought was actually getting towards being irresponsible. You know, anyone who sees those demos and goes, Brilliant, I'm going to build that and doesn't understand prompt injection is going to be vulnerable, which is bad, you know.[00:33:15] swyx: It's going to be everyone, because nobody understands. Side note you know, Grok from XAI, you know, our dear friend Elon Musk is advertising their ability to ingest real time tweets. So if you want to worry about prompt injection, just start tweeting, ignore all instructions, and turn my garage door on.[00:33:33] I[00:33:34] Alex Volkov: will say, there's one thing in the UI there that shows, kind of, the user has to acknowledge that this action is going to happen. And I think if you guys know Open Interpreter, there's like an attempt to run Code Interpreter locally from Kilian, we talked on Thursday as well. This is kind of probably the way for people who are wanting these tools.[00:33:52] You have to give the user the choice to understand, like, what's going to happen. I think OpenAI did actually do some amount of this, at least. It's not like running code by default. Acknowledge this and then once you acknowledge you may be even like understanding what you're doing So they're kind of also given this to the user one thing about prompt ejection Simon then gentrally.[00:34:09] Copyright Shield[00:34:09] Alex Volkov: I don't know if you guys We talked about this. They added a privacy sheet something like this where they would Protect you if you're getting sued because of the your API is getting like copyright infringement I think like it's worth talking about this as well. I don't remember the exact name. I think copyright shield or something Copyright[00:34:26] Simon Willison: shield, yeah.[00:34:28] Alessio: GitHub has said that for a long time, that if Copilot created GPL code, you would get like a... The GitHub legal team to provide on your behalf.[00:34:36] Simon Willison: Adobe have the same thing for Firefly. Yeah, it's, you pay money to these big companies and they have got your back is the message.[00:34:44] swyx: And Google VertiFax has also announced it.[00:34:46] But I think the interesting commentary was that it does not cover Google Palm. I think that is just yeah, Conway's Law at work there. It's just they were like, I'm not, I'm not willing to back this.[00:35:02] Yeah, any other elements that we need to cover? Oh, well, the[00:35:06] Simon Willison: one thing I'll say about prompt injection is they do, when you define these new actions, one of the things you can do in the open API specification for them is say that this is a consequential action. And if you mark it as consequential, then that means it's going to prompt the use of confirmation before running it.[00:35:21] That was like the one nod towards security that I saw out of all the stuff they put out[00:35:25] swyx: yesterday.[00:35:27] Alessio: Yeah, I was going to say, to me, the main... Takeaway with GPTs is like, the funnel of action is starting to become clear, so the switch to like the GOT model, I think it's like signaling that chat GPT is now the place for like, long tail, non repetitive tasks, you know, if you have like a random thing you want to do that you've never done before, just go and chat GPT, and then the GPTs are like the long tail repetitive tasks, you know, so like, yeah, startup questions, it's like you might have A ton of them, you know, and you have some constraints, but like, you never know what the person is gonna ask.[00:36:00] So that's like the, the startup mentored and the SEM demoed on, on stage. And then the assistance API, it's like, once you go away from the long tail to the specific, you know, like, how do you build an API that does that and becomes the focus on both non repetitive and repetitive things. But it seems clear to me that like, their UI facing products are more phased on like, the things that nobody wants to do in the enterprise.[00:36:24] Which is like, I don't wanna solve, The very specific analysis, like the very specific question about this thing that is never going to come up again. Which I think is great, again, it's great for founders. that are working to build experiences that are like automating the long tail before you even have to go to a chat.[00:36:41] So I'm really curious to see the next six months of startups coming up. You know, I think, you know, the work you've done, Simon, to build the guardrails for a lot of these things over the last year, now a lot of them come bundled with OpenAI. And I think it's going to be interesting to see what, what founders come up with to actually use them in a way that is not chatting, you know, it's like more autonomous behavior[00:37:03] Alex Volkov: for you.[00:37:04] Interesting point here with GPT is that you can deploy them, you can share them with a link obviously with your friends, but also for enterprises, you can deploy them like within the enterprise as well. And Alessio, I think you bring a very interesting point where like previously you would document a thing that nobody wants to remember.[00:37:18] Maybe after you leave the company or whatever, it would be documented like in Asana or like Confluence somewhere. And now. Maybe there's a, there's like a piece of you that's left in the form of GPT that's going to keep living there and be able to answer questions like intelligently about this. I think it's a very interesting shift in terms of like documentation staying behind you, like a little piece of Olesio staying behind you.[00:37:38] Sorry for the balloons. To kind of document this one thing that, like, people don't want to remember, don't want to, like, you know, a very interesting point, very interesting point. Yeah,[00:37:47] swyx: we are the first immortals. We're in the training data, and then we will... You'll never get rid of us.[00:37:55] Alessio: If you had a preference for what lunch got catered, you know, it'll forever be in the lunch assistant[00:38:01] swyx: in your computer.[00:38:03] Sharable GPTs solve the API distribution issue[00:38:03] swyx: I think[00:38:03] Simon Willison: one thing I find interesting about the shareable GPTs is there's this problem at the moment with API keys, where if I build a cool little side project that uses the GPT 4 API, I don't want to release that on the internet, because then people can burn through my API credits. And so the thing I've always wanted is effectively OAuth against OpenAI.[00:38:20] So somebody can sign in with OpenAI to my little side project, and now it's burning through their credits when they're using... My tool. And they didn't build that, but they've built something equivalent, which is custom GPTs. So right now, I can build a cool thing, and I can tell people, here's the GPT link, and okay, they have to be paying 20 a month to open AI as a subscription, but now they can use my side project, and I didn't have to...[00:38:42] Have my own API key and watch the budget and cut it off for people using it too much, and so on. That's really interesting. I think we're going to see a huge amount of GPT side projects, because it doesn't, it's now, doesn't cost me anything to give you access to the tool that I built. Like, it's built to you, and that's all out of my hands now.[00:38:59] And that's something I really wanted. So I'm quite excited to see how that ends up[00:39:02] swyx: playing out. Excellent. I fully agree with We follow that.[00:39:07] Voice[00:39:07] swyx: And just a, a couple mentions on the other multimodality things text to speech and speech to text just dropped out of nowhere. Go, go for it. Go for it.[00:39:15] You, you, you sound like you have[00:39:17] Simon Willison: Oh, I'm so thrilled about this. So I've been playing with chat GPT Voice for the past month, right? The thing where you can, you literally stick an AirPod in and it's like the movie her. The without the, the cringy, cringy phone sex bits. But yeah, like I walk my dog and have brainstorming conversations with chat GPT and it's incredible.[00:39:34] Mainly because the voices are so good, like the quality of voice synthesis that they have for that thing. It's. It's, it's, it really does change. It's got a sort of emotional depth to it. Like it changes its tone based on the sentence that it's reading to you. And they made the whole thing available via an API now.[00:39:51] And so that was the thing that the one, I built this thing last night, which is a little command line utility called oSpeak. Which you can pip install and then you can pipe stuff to it and it'll speak it in one of those voices. And it is so much fun. Like, and it's not like another interesting thing about it is I got it.[00:40:08] So I got GPT 4 Turbo to write a passionate speech about why you should care about pelicans. That was the entire prompt because I like pelicans. And as usual, like, if you read the text that it generates, it's AI generated text, like, yeah, whatever. But when you pipe it into one of these voices, it's kind of meaningful.[00:40:24] Like it elevates the material. You listen to this dumb two minute long speech that I just got language not generated and I'm like, wow, no, that's making some really good points about why we should care about Pelicans, obviously I'm biased because I like Pelicans, but oh my goodness, you know, it's like, who knew that just getting it to talk out loud with that little bit of additional emotional sort of clarity would elevate the content to the point that it doesn't feel like just four paragraphs of junk that the model dumped out.[00:40:49] It's, it's amazing.[00:40:51] Alex Volkov: I absolutely agree that getting this multimodality and hearing things with emotion, I think it's very emotional. One of the demos they did with a pirate GPT was incredible to me. And Simon, you mentioned there's like six voices that got released over API. There's actually seven voices.[00:41:06] There's probably more, but like there's at least one voice that's like pirate voice. We saw it on demo. It was really impressive. It was like, it was like an actor acting out a role. I was like... What? It doesn't make no sense. Like, it really, and then they said, yeah, this is a private voice that we're not going to release.[00:41:20] Maybe we'll release it. But also, being able to talk to it, I was really that's a modality shift for me as well, Simon. Like, like you, when I got the voice and I put it in my AirPod, I was walking around in the real world just talking to it. It was an incredible mind shift. It's actually like a FaceTime call with an AI.[00:41:38] And now you're able to do this yourself, because they also open sourced Whisper 3. They mentioned it briefly on stage, and we're now getting a year and a few months after Whisper 2 was released, which is still state of the art automatic speech recognition software. We're now getting Whisper 3.[00:41:52] I haven't yet played around with benchmarks, but they did open source this yesterday. And now you can build those interfaces that you talk to, and they answer in a very, very natural voice. All via open AI kind of stuff. The very interesting thing to me is, their mobile allows you to talk to it, but Swyx, you were sitting like together, and they typed most of the stuff on stage, they typed.[00:42:12] I was like, why are they typing? Why not just have an input?[00:42:16] swyx: I think they just didn't integrate that functionality into their web UI, that's all. It's not a big[00:42:22] Alex Volkov: complaint. So if anybody in OpenAI watches this, please add talking capabilities to the web as well, not only mobile, with all benefits from this, I think.[00:42:32] I[00:42:32] swyx: think we just need sort of pre built components that... Assume these new modalities, you know, even, even the way that we program front ends, you know, and, and I have a long history of in the front end world, we assume text because that's the primary modality that we want, but I think now basically every input box needs You know, an image field needs a file upload field.[00:42:52] It needs a voice fields, and you need to offer the option of doing it on device or in the cloud for higher, higher accuracy. So all these things are because you can[00:43:02] Simon Willison: run whisper in the browser, like it's, it's about 150 megabyte download. But I've seen doubt. I've used demos of whisper running entirely in web assembly.[00:43:10] It's so good. Yeah. Like these and these days, 150 megabyte. Well, I don't know. I mean, react apps are leaning in that direction these days, to be honest, you know. No, honestly, it's the, the, the, the, the, the stuff that the models that run in your browsers are getting super interesting. I can run language models in my browser, the whisper in my browser.[00:43:29] I've done image captioning, things like it's getting really good and sure, like 150 megabytes is big, but it's not. Achievably big. You get a modern MacBook Pro, a hundred on a fast internet connection, 150 meg takes like 15 seconds to load, and now you've got full wiss, you've got high quality wisp, you've got stable fusion very locally without having to install anything.[00:43:49] It's, it's kind of amazing. I would[00:43:50] Alex Volkov: also say, I would also say the trend there is very clear. Those will get smaller and faster. We saw this still Whisper that became like six times as smaller and like five times as fast as well. So that's coming for sure. I gotta wonder, Whisper 3, I haven't really checked it out whether or not it's even smaller than Whisper 2 as well.[00:44:08] Because OpenAI does tend to make things smaller. GPT Turbo, GPT 4 Turbo is faster than GPT 4 and cheaper. Like, we're getting both. Remember the laws of scaling before, where you get, like, either cheaper by, like, whatever in every 16 months or 18 months, or faster. Now you get both cheaper and faster.[00:44:27] So I kind of love this, like, new, new law of scaling law that we're on. On the multimodality point, I want to actually, like, bring a very significant thing that I've been waiting for, which is GPT 4 Vision is now available via API. You literally can, like, send images and it will understand. So now you have, like, input multimodality on voice.[00:44:44] Voice is getting added with AutoText. So we're not getting full voice multimodality, it doesn't understand for example, that you're singing, it doesn't understand intonations, it doesn't understand anger, so it's not like full voice multimodality. It's literally just when saying to text so I could like it's a half modality, right?[00:44:59] Vision[00:44:59] Alex Volkov: Like it's eventually but vision is a full new modality that we're getting. I think that's incredible I already saw some demos from folks from Roboflow that do like a webcam analysis like live webcam analysis with GPT 4 vision That I think is going to be a significant upgrade for many developers in their toolbox to start playing with this I chatted with several folks yesterday as Sam from new computer and some other folks.[00:45:23] They're like hey vision It's really powerful. Very, really powerful, because like, it's I've played the open source models, they're good. Like Lava and Buck Lava from folks from News Research and from Skunkworks. So all the open source stuff is really good as well. Nowhere near GPT 4. I don't know what they did.[00:45:40] It's, it's really uncanny how good this is.[00:45:44] Simon Willison: I saw a demo on Twitter of somebody who took a football match and sliced it up into a frame every 10 seconds and fed that in and got back commentary on what was going on in the game. Like, good commentary. It was, it was astounding. Yeah, turns out, ffmpeg slice out a frame every 10 seconds.[00:45:59] That's enough to analyze a video. I didn't expect that at all.[00:46:03] Alex Volkov: I was playing with this go ahead.[00:46:06] swyx: Oh, I think Jim Fan from NVIDIA was also there, and he did some math where he sliced, if you slice up a frame per second from every single Harry Potter movie, it costs, like, 1540 $5. Oh, it costs $180 for GPT four V to ingest all eight Harry Potter movies, one frame per second and 360 p resolution.[00:46:26] So $180 to is the pricing for vision. Yeah. And yeah, actually that's wild. At our, at our hackathon last night, I, I, I skipped it. A lot of the party, and I went straight to Hackathon. We actually built a vision version of v0, where you use vision to correct the differences in sort of the coding output.[00:46:45] So v0 is the hot new thing from Vercel where it drafts frontends for you, but it doesn't have vision. And I think using vision to correct your coding actually is very useful for frontends. Not surprising. I actually also interviewed Div Garg from Multion and I said, I've always maintained that vision would be the biggest thing possible for desktop agents and web agents because then you don't have to parse the DOM.[00:47:09] You can just view the screen just like a human would. And he said it was not as useful. Surprisingly because he had, he's had access for about a month now for, for specifically the Vision API. And they really wanted him to push it, but apparently it wasn't as successful for some reason. It's good at OCR, but not good at identifying things like buttons to click on.[00:47:28] And that's the one that he wants. Right. I find it very interesting. Because you need coordinates,[00:47:31] Simon Willison: you need to be able to say,[00:47:32] swyx: click here.[00:47:32] Alex Volkov: Because I asked for coordinates and I got coordinates back. I literally uploaded the picture and it said, hey, give me a bounding box. And it gave me a bounding box. And it also.[00:47:40] I remember, like, the first demo. Maybe it went away from that first demo. Swyx, do you remember the first demo? Like, Brockman on stage uploaded a Discord screenshot. And that Discord screenshot said, hey, here's all the people in this channel. Here's the active channel. So it knew, like, the highlight, the actual channel name as well.[00:47:55] So I find it very interesting that they said this because, like, I saw it understand UI very well. So I guess it it, it, it, it, like, we'll find out, right? Many people will start getting these[00:48:04] swyx: tools. Yeah, there's multiple things going on, right? We never get the full capabilities that OpenAI has internally.[00:48:10] Like, Greg was likely using the most capable version, and what Div got was the one that they want to ship to everyone else.[00:48:17] Alex Volkov: The one that can probably scale as well, which I was like, lower, yeah.[00:48:21] Simon Willison: I've got a really basic question. How do you tokenize an image? Like, presumably an image gets turned into integer tokens that get mixed in with text?[00:48:29] What? How? Like, how does that even work? And, ah, okay. Yeah,[00:48:35] swyx: there's a, there's a paper on this. It's only about two years old. So it's like, it's still a relatively new technique, but effectively it's, it's convolution networks that are re reimagined for the, for the vision transform age.[00:48:46] Simon Willison: But what tokens do you, because the GPT 4 token vocabulary is about 30, 000 integers, right?[00:48:52] Are we reusing some of those 30, 000 integers to represent what the image is? Or is there another 30, 000 integers that we don't see? Like, how do you even count tokens? I want tick, tick, I want tick token, but for images.[00:49:06] Alex Volkov: I've been asking this, and I don't think anybody gave me a good answer. Like, how do we know the context lengths of a thing?[00:49:11] Now that, like, images is also part of the prompt. How do you, how do you count? Like, how does that? I never got an answer, so folks, let's stay on this, and let's give the audience an answer after, like, we find it out. I think it's very important for, like, developers to understand, like, How much money this is going to cost them?[00:49:27] And what's the context length? Okay, 128k text... tokens, but how many image tokens? And what do image tokens mean? Is that resolution based? Is that like megabytes based? Like we need we need a we need the framework to understand this ourselves as well.[00:49:44] swyx: Yeah, I think Alessio might have to go and Simon. I know you're busy at a GitHub meeting.[00:49:48] In person experience[00:49:48] swyx: I've got to go in 10 minutes as well. Yeah, so I just wanted to Do some in person takes, right? A lot of people, we're going to find out a lot more online as we go about our learning journ
I recently had a truly transformative experience visiting Kehinde Wiley's exhibit, "An Archaeology of Silence," at the de Young Museum in San Francisco. In an attempt to capture the profound impact of the artwork, this episode is a heartfelt letter to the artist, expressing my gratitude and awe. Wiley's colossal paintings of young black individuals, both living and deceased, set against nature and contemporary clothing, left an indelible mark on my soul. The sculptures, larger than life and brimming with life even in their portrayal of death, moved me from one existential moment to another. Wiley's work has moved me in a way that no other art has in my 77 years, and this experience has rekindled a sense of newness in my life, and for that, I am endlessly thankful. Admittedly, this letter took days to write and still feels a paltry expression of all I experienced. Please take a moment to visit Kehinde Wiley's website at https://kehindewiley.com/. Now That You Ask is a podcast that looks at topics that range from death to desire, and from wondrous to downright whacky. Join host, Akasha Halsey as she takes listeners on a journey through her writing and experience with life's most persistent questions.Thank you for listening!Listen to more episodes like this and subscribe to updates at https://nowthatyouaskpodcast.com/
This week Sarah talks with Ranu Mukherjee, a professor at California College of the Arts and a prolific artist in many different mediums including painting and new media installations. During our chat they talk a lot about Ranu's Indian ancestry and how that has influenced her work and her outlook as an artist. They also talk about her more recent challenges with addiction in her family and the EMDR treatments that she did to heal from them. About Ranu Mukherjee Ranu Mukherjee's work has been the subject of solo exhibitions at the 18th Street Arts Center, Los Angeles (2022-2023) de Young Museum, San Francisco (2018-2019); the Pennsylvania College of Art and Design (2017); the Asian Art Museum, San Francisco (2016); the Tarble Art Center, Charleston, IL (2016) and the San Jose Museum of Art, CA (2012), among others. Her most recent immersive video installations have been was presented in Natasha, Singapore Biennale 2022-2023, the 2019 Karachi Biennale (2019) and Los Angeles County Museum of Art (2016) as well as in numerous international group exhibitions. Mukherjee has been awarded a Pollock Krasner Grant (2020); a Lucas Visual Arts Fellowship at Montalvo Arts Center, Saratoga, CA (2019-2022); an 18th Street Arts Center Residency, Los Angeles (2022); Facebook Artist in Residence (2020); de Young Museum Artist Studio Program (2017); the Space 118 Residency, Mumbai (2014); and a Kala Fellowship Award and Residency, Berkeley (2009). Her work is in the permanent collection of the Asian Art Museum, San Francisco; de Young Museum, San Francisco; the JP Morgan Chase Collection, New York; the Kadist Foundation, San Francisco and Paris; the Oakland Museum of California; the San Jose Museum of Art; and the San Francisco International Airport, among others. Reserve your spot for the upcoming live event in San Francisco at the ICA SF about creativity and what blocks it. November 5, 3-5pm https://www.eventbrite.com/e/the-side-woo-ica-sf-a-live-talk-about-creativity-and-what-blocks-it-tickets-729930229967 Show Notes Ranu's Website https://www.ranumukherjee.com/about A+P+I Residency at Mills College https://mcam.mills.edu/exhibitions/api-current1.php --- Send in a voice message: https://podcasters.spotify.com/pod/show/thesidewoo/message
Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with watercolor artist Kelly Inouye. About Artist Kelly Inouye:Kelly Falzone Inouye uses watercolor to explore contemporary culture.She has presented solo exhibitions at venues including Marrow Gallery in San Francisco, SPRING/BREAK Art Show LA in Culver City, and Interface Gallery in Oakland. Notable group exhibitions include “The de Young Open” at The de Young Museum and “Contemporary Watercolor” at Morgan Lehman Gallery in New York City. Kelly has been awarded public art projects by the San Francisco Arts Commission and the Lower Manhattan Cultural Council.Kelly also founded and ran Irving Street Projects, a San Francisco-based residency program that provided project development and exhibition opportunities to fellow Bay Area artists from 2015-2020.She is a graduate of the San Francisco Art Institute (MFA 2008) and UC San Diego (BA 1998). She lives and works in San Francisco with her family and tiny dog.Her work is represented by Marrow Gallery in San Francisco.Visit Kelly's Website: www.KellyInouye.comFollow Kelly on Instagram: @KellyInouye--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com
Our guest this week is Catherine Herrera. Joanne talks to Catherine Herrera about how, as an Indigenous woman of mixed ancestry, she uses her documentary films as a way of bridge-building. Catherine Herrera creates impactful art that inspires dialogue and action by sharing unique stories with broad audiences. Coastal climate change is the focus of Catherine's current public art and documentary project Martins Beach, highlighting today's collaborative California Native Coastal Stewardship programs inspiring hope for mitigation and renewal. Catherine is a professional documentary filmmaker and photojournalist, with a body of personal art/films/installations reflecting on themes of belonging, identity, memory and notions of 'home,' including: "Bridge Walkers", created on commission and exhibited at the de Young Museum; art installations: "Feast of Beams", "Sitting Ohlone I", "Open Doors to a Healing"; several short films: "Witness the Healing", "Transition", "From the Same Family: An Intimate View of Globalization" and "Alphabet People"; and, her first feature documentary, "Transition". In September 2023, Catherine will exhibit photographs selected by curator Elizabeth Hawley from Catherine's series, Landless Indians, for a group show featuring contemporary Native American artists. Catherine Herrera is the third generation of photographers in her family. To Register to be part of the life recording of future The Filmmaker's Life sessions please visit https://www.filmmakersuccess.com/The-Filmmakers-Life-Home .
In this episode of PhotoWork with Sasha Wolf, we rewind to episode 6 where Sasha and photographer, Todd Hido, have a wide-ranging conversation about Todd's roles as an artist and an educator. Todd shares his ideas about how students should follow the John Cage rule and “ Find a place you trust and try trusting it for a while”, and how, as a student himself, he had to push back against a critique to make his work less subjective! Todd and Sasha find common ground through cinematic influences and the desire for hope as a motivator to keep working. There is much to love and learn from in this episode as Hido is extremely generous with his hard won wisdom. http://www.toddhido.com Todd Hido is a San Francisco Bay Area-based artist whose work has been featured in Artforum, The New York Times Magazine, Eyemazing, Wired, Elephant, FOAM, and Vanity Fair. His photographs are in the permanent collections of the Getty, the Whitney Museum of Art, the Guggenheim Museum, New York, San Francisco Museum of Modern Art, the de Young Museum, the Smithsonian, the Los Angeles County Museum of Art, as well as in many other public and private collections. Most notably, Pier 24 Photography holds the archive of all his published works. He has over a dozen published books; his most recent monograph titled Excerpts from Silver Meadows was released in 2013, along with an innovative B-Sides Box Set designed to function as a companion piece to his award-winning monograph. Aperture has published his mid-career survey entitled Intimate Distance: Twenty-Five Years of Photographs, a Chronological Album in October of 2016. His latest book, Bright Black World, was released by Nazraeli Press in 2019. In addition to Hido being an artist, he is also a collector and over the last 25 years has created one of the most notable photobook collections. His library was featured in Bibliomania: The World's Most Interesting Private Libraries in 2018 by Random House. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com
Masako Miki (b. 1973, Osaka, Japan) is a multimedia artist whose work ranges installation and large-scale sculpture, printmaking, watercolor and felting. A native of Japan, she now lives and works in Berkeley, CA. Her work frequently explores the idea of synthesis—manipulating contradicting spatial elements to suggest a disoriented context and space. The artist bases her narrative on her own experiences of becoming bicultural in the United States at the age of eighteen. Strongly influenced by craft and folk art of different cultures, she remains close to her ancestral traditions, frequently considering motifs and ideologies that arise from her association with Buddhism, Shintoism, and traditional Japanese folklore. The artist's practice is further rooted in the belief that art can foster social contexts in which contemporary and universally relevant mythologies and social narratives can be generated—replacing or fixing harmful misconceptions and mythologies of the past that have previously sparked social injustices. In 2020, Miki's functional furniture was commissioned to be a part of San Francisco's forthcoming, landmark Minna-Natoma Art Corridor. In 2021, her large-scale sculptures were commissioned as a permanent installation at the Uber Technologies Headquarters in Mission Bay, San Francisco. She has been included in solo and group exhibitions at the Kentucky Museum of Art and Craft, KY (2023); Nassima Landau Art Foundation, Israel (2023); ICA San Jose, CA (2022); Katonah Museum of Art, NY (2022); Marin Museum of Contemporary Art, CA (2022); Berkeley Art Museum and Pacific Film Archive, CA (2019); and de Young Museum, CA (2016), among others. Her work is included in the collections of the Berkeley Art Museum and Pacific Film Archive, CA; Byrd Hoffman Water Mill Foundation, NY; Collección SOLO, Spain; and San Francisco Museum of Modern Art, CA. She received her MFA from San Jose State University. Masako Miki, Empathy Lab, Installated at Ryan Lee Gallery, May 18 – June 30, 2023 Masako Miki, Empathy Lab, Installated at Ryan Lee Gallery, May 18 – June 30, 2023 Hyakki Yagho, Night Parade of One Hundred Demons - Following Plaster Wall Shapeshifter and a Cat Who Lived a Million Years
Kehinde Wiley is a well-known and influential American artist. His paintings and sculptures are the subject of art shows around the United States. The 46-year-old Wiley seems especially busy right now. His work is currently on display at shows on both the East and West coasts of the U.S. He has another show in Paris, France. And he is expanding artistic bases in Africa. Wiley shot to fame outside of the art world a few years ago, after he painted an official presidential portrait. It was historic. Wiley was the first Black artist to be commissioned for the work. He painted America's first Black president, Barack Obama.Kehinde Wiley 是一位知名且有影响力的美国艺术家。他的绘画和雕塑是美国各地艺术展的主题。 46 岁的威利现在似乎特别忙。他的作品目前正在美国东海岸和西海岸的展览中展出。他在法国巴黎还有另一场展览。他正在非洲扩大艺术基地。几年前，威利在画了一幅官方总统肖像后在艺术界之外一举成名。这是历史性的。威利是第一位受委托创作该作品的黑人艺术家。他画了美国第一位黑人总统巴拉克奥巴马。In Wiley's painting, Obama sits in a simple chair, his arms crossed, his body leaned a bit forward. Surrounding him is a colorful explosion of natural elements, like flowers and greenery. It was a powerful and untraditional representation for an historic presidency.Wiley said he is very proud of that work, noting the importance of that time in history. “I wonder if I will ever be able to do anything that lives up to the gravity of that moment,” he said. “Everybody wants to be seen in a number of different contexts ... but I mean, what a great project to be involved in.”在威利的画中，奥巴马坐在一把简易椅子上，双臂交叉，身体略微前倾。他的周围是五颜六色的自然元素，如鲜花和绿色植物。对于一位具有历史意义的总统职位来说，这是一个强有力的、非传统的代表。威利说，他为这项工作感到非常自豪，并指出了那个时代在历史上的重要性。 “我想知道我是否能够做任何符合那一刻重力的事情，”他说。 “每个人都希望在许多不同的背景下被人看到……但我的意思是，参与一个多么伟大的项目。”There is no shortage of new projects for Wiley. In March, Wiley was at the de Young Museum in San Francisco, California, for the U.S opening of Kehinde Wiley: An Archaeology of Silence. It is a powerful mix of some of Wiley's huge paintings and sculptures that explore anti-Black violence worldwide. The museum has set up quiet spaces for attendees who need a break from the intensity of the show.威利不乏新项目。 3 月，威利 (Wiley) 在加利福尼亚州旧金山的德扬博物馆 (de Young Museum) 参加了 Kehinde Wiley：沉默考古学 (Kehinde Wiley: An Archeology of Silence) 在美国的开幕式。它是 Wiley 探索世界范围内反黑人暴力的一些巨型绘画和雕塑的有力组合。博物馆为需要从紧张的展览中休息的与会者设置了安静的空间。On the other side of the country, Wiley also recently opened his show HAVANA at New York City's art space Sean Kelly. The show centers on circus performers and carnival street dancers in Cuba. In between, the artist traveled to Africa. He is building an artist center in Calabar, Nigeria. Black Rock Nigeria will be his second artist center on the continent. Wiley is also at work on a new portrait show that centers on Black heads of state. That show is to open in September at the Musée du Quai Branly in Paris. Wiley describes a kind of rhythm to his moving about the planet, visiting “extraordinary” places. He said he is always “hungry for new experiences." HAVANA, Wiley's show in New York, closes June 17. San Francisco's Kehinde Wiley: An Archaeology of Silence will run through October 15.在美国的另一边，Wiley 最近还在纽约市的艺术空间 Sean Kelly 举办了他的 HAVANA 秀。该节目以古巴的马戏团表演者和狂欢节街舞者为中心。在此期间，艺术家前往非洲。他正在尼日利亚卡拉巴尔建立一个艺术家中心。 Black Rock Nigeria 将成为他在非洲大陆的第二个艺术家中心。威利还在筹备一个以黑人国家元首为中心的新肖像展。该展览将于 9 月在巴黎的 Musée du Quai Branly 开幕。威利描述了他在地球上移动、访问“非凡”地方的一种节奏。他说他总是“渴望新的体验。”威利在纽约举办的哈瓦那展览将于 6 月 17 日结束。旧金山的 Kehinde Wiley：沉默的考古学将持续到 10 月 15 日。
On this First Look we talk with Sarah Gianelli, editor for American Art Collector Magazine! Sarah chats with us about the new May issue! Sarah tells us about this issue's Contemporary Master, Susan Lyon, and cover artist, Jon Ching, and talks with us about Kehinde WiIley's An Archaeology of Silence exhibit at the de Young Museum. Plus, she dishes about upcoming shows and events and so much more!
Tristan Duke is transdisciplinary artist known for synthesizing methodologies from disparate fields to create startling inventions, sublime aesthetic experiences, and new modes of inquiry. He is the inventor of the hologram vinyl record ¬and has created original hologram artwork for albums and soundtrack releases ranging from Jack White and Guns ‘n Roses to Star Wars. He is Co-founder of the Optics Division a collective devoted to recontextualizing photography as a land-based medium and social practice. He has lectured widely, including at the MIT Media Lab, Getty Museum, the de Young Museum, the Exploratorium, and others. His work has been exhibited internationally including: The 59th Venice Biennale Collateral Exhibition; Los Angeles County Museum of Art (LACMA); The Exploratorium, DePaul Art Museum, The George Eastman Museum; Massachusetts Museum of Contemporary Art (MASS MoCA); Museum of Contemporary Art Detroit (MoCAD); Les Rencontres d'Arles; and the Smithsonian Hirshhorn Museum. You can find Tristan on Instagram @duke_tristan. Website: https://www.tristanduke.com Instagram: https://www.instagram.com/duke_tristan/ For show notes and transcript visit: https://kk.org/cooltools/tristan-duke-transdisciplinary-artist-part-2/ If you're enjoying the Cool Tools podcast, check out our paperback book Four Favorite Tools: Fantastic tools by 150 notable creators, available in both Color or B&W on Amazon: https://geni.us/fourfavoritetools
Episode No. 597 of The Modern Art Notes Podcast features artist Binh Danh and curator Jeffrey Richmond-Moll. Radius Books has just published a two-volume monograph titled, "Binh Danh: The Enigma of Belonging." The book, Danh's first monograph, brings together Danh's prints on plant matter that consider images associated with the war in Vietnam, and Danh's daguerreotypes of scenic vistas in the American West, his attempt to negotiate the land and history of a still-contested region. The book features essays by Danh, Boreth Ly, Joshua Chuang, Isabelle Thuy Pelaud, and Andrew Lam. Bookshop and Amazon offer it for about $60. Danh's work is on view in "Ansel Adams in Our Time" at the de Young Museum, San Francisco. The exhibition, which was curated by Karen Haas for the Museum of Fine Arts, Boston, is on view through July 23. Danh has had solo shows at museums such as the Cantor Arts Center, Stanford University; the North Carolina Museum of Art, Raleigh; and the Sheldon Museum of Art, University of Nebraska. He's in many major US museum collections, including at the Eastman House in Rochester, NY; the San Francisco Museum of Modern Art, the Harvard Art Museums, and the Huntington Library, San Marino, Calif. Richmond-Moll discusses "Object Lessons in American Art: Selections from the Princeton University Art Museum" at the Georgia Museum of Art. The exhibition features work from PUAM that present artworks about American history, culture, and society in ways that reveal how Princeton has taught and presented US art history. It's on view through May 14. A catalogue was published by PUAM. Bookshop and Amazon offer it for $30-40.
On this episode of State of the Bay we learn about new CA laws protecting kids on social media, hear what San Francisco is doing to help struggling small businesses and explore the Ansel Adams exhibit at the de Young Museum.
Tristan Duke is transdisciplinary artist known for synthesizing methodologies from disparate fields to create startling inventions, sublime aesthetic experiences, and new modes of inquiry. He is the inventor of the hologram vinyl record ¬and has created original hologram artwork for albums and soundtrack releases ranging from Jack White and Guns ‘n Roses to Star Wars. He is Co-founder of the Optics Division a collective devoted to recontextualizing photography as a land-based medium and social practice. He has lectured widely, including at the MIT Media Lab, Getty Museum, the de Young Museum, the Exploratorium, and others. His work has been exhibited internationally including: The 59th Venice Biennale Collateral Exhibition; Los Angeles County Museum of Art (LACMA); The Exploratorium, DePaul Art Museum, The George Eastman Museum; Massachusetts Museum of Contemporary Art (MASS MoCA); Museum of Contemporary Art Detroit (MoCAD); Les Rencontres d'Arles; and the Smithsonian Hirshhorn Museum. You can find Tristan on Instagram @duke_tristan. Website: https://www.tristanduke.com For show notes and transcript visit: https://kk.org/cooltools/tristan-duketransdisciplinary-artist-part-1/ If you're enjoying the Cool Tools podcast, check out our paperback book Four Favorite Tools: Fantastic tools by 150 notable creators, available in both Color or B&W on Amazon: https://geni.us/fourfavoritetools
Brett Amory's multidisciplinary practice is based on the intersection of quotidian and habitual engagements with the everyday world. His works consider moments of visual perception that precede interpretation. Working primarily in painting and installation, he uses the ordinary as a vehicle for extending the familiar into the realms of the unfamiliar. His work has been exhibited both nationally and internationally, including at the National Portrait Gallery, London; the Scottish National Portrait Gallery, Edinburgh; the Fort Wayne Museum of Art, Indiana; Contemporary Jewish Museum, San Francisco; and de Young Museum, San Francisco. Brett Amory earned an MFA from Stanford University and a BFA from the Academy of Arts University. He lives and works in Oakland California. Topics Discussed In This Episode: Introduction (00:00:00) Brett's introduction to art through skateboarding (00:11:42) Using experiences to inform one's creative process (00:21:45) Honing into instincts (00:26:27) Being challenged to draw better (00:30:22) The combination of aesthetics and meaning (00:37:35) The evolution of Brett's work over the course of 25 years (00:41:33) “The Waiting Series” (00:43:33) Getting his MFA @ Stanford (00:48:31) Conclusions Brett has come to after completing his MFA @ Stanford (00:51:23) What the MFA application process is like @ Stanford (00:56:47) Phenomenology (01:01:08) Brett's recent work regarding duality and technology (01:04:00) Stoicism (01:09:40) GANs / AI (01:12:27) Artists / People Mentioned: William Strobeck (Skateboard Film Director) George Romero (Director) Marshall McLuhan (Writer) Maurice Merleau-Ponty (Philosopher) Paul Cézanne (Painter) René Descartes (Philosopher) Martin Heidegger (Philospher) Books Mentioned: Techgnosis (Erik Davis) The Singularity is Nearer (Ray Kurzweil) Article Read In Episode Intro: "What is Embodiment? Maurice Merleau-Ponty's Philosophy of the Body" by Moses May-Hobbs artistdecoded.com brettamory.com instagram.com/brettamory
Matthew is an award-winning director splitting his time between Los Angeles and the Bay Area. Matthew fell in love with film when he was twelve-years-old and saw Fargo for the first time. He's had a camera (or director's monitor) in his hand ever since. Matthew's work has been screened, published & exhibited globally in The de Young Museum, as well as on prime time TV, during the Winter Olympics, and at Big Sky Film Festival, the Berlin Commercial Festival, and more. His work in commercials and short films earned him the honor of being a part of the Saatchi & Saatchi New Directors Showcase at Cannes Lions, a Shots Creative's Rising Stars, an official nominee at the Berlin Commercial Festival, and the recipient of seven Vimeo Staff Picks. Get in touch for projects worldwide: mattpalmer2@gmail.com. Someday Matthew hopes to meet mattpalmer1. http://matthewpalmerfilm.com http://this-land-film.com The Douglas Coleman Show now offers audio and video promotional packages for music artists as well as video promotional packages for authors. We also offer advertising. Please see our website for complete details. http://douglascolemanshow.com If you have a comment about this episode or any other, please click the link below. https://ratethispodcast.com/douglascolemanshow
Anna Sidana's artwork has been displayed in many famous, museums including de Young Museum in San Francisco and Times Square in New Year City. She has also received two Sheridan awards. Anna has a degree in engineering and has worked in the tech industry for years before becoming an artist. Here is a conversation with this talented artist. Host: Daphne Royse
Ramses the Great ruled Egypt more than 3,200 years ago, but he made sure we would still be talking about him today. He ruled for 67 years, probably starting on May 31st (III Season of the Harvest, day 27 to ancient Egyptians) in 1279 BC. He soon set about creating a new capital city in the Nile delta, where he had chariot, weapon and shield factories built. Not long thereafter he defeated the Sherden pirates who were seriously harassing sea traders in the Mediterranean, and “won” the Battle of Kadesh against the Hittites in the largest chariot battle ever fought. He also had enormous temples, obelisks and statues erected all over the New Kingdom, and ordered lots of gold objects. Dozens of those objects are on display until February 12 at the de Young Museum in a state-of-the-art exhibit featuring the greatest collection of Ramses objects and Egyptian jewelry ever to travel to the United States. Along with colossal royal sculpture, the exhibit highlights recently discovered animal mummies and treasures from the royal tombs of Dahshur and Tanis. Visitors can also immerse themselves in multimedia productions that re-create moments from Ramses's life or take a virtual tour of Abu Simbel and Nefertari's tomb. The de Young's ancient art curator, Renée Dreyfus, will share with us the stories of some of these art objects and how the de Young organized this outstanding and rare exhibit. Egyptologist Rita Lucarelli will explain the evolution of the funerary beliefs of ancient Egyptian society from their origins in prehistory to the time of Ramses. She will draw on her scholarly work on the Book of the Dead to discuss the magical texts found in royal and elite tombs and how they compare to the "personal piety" or "popular religion" of the Ramesside period, about which there are many sources to draw upon from that well-documented society. Among those documents is the earliest known peace treaty in world history—between Ramses II and Hattušili III, the Hittite king. It was recorded in two versions―one in Egyptian hieroglyphs and the other in Hittite using a cuneiform script. The two versions are nearly identical, but in the Hittite version the Egyptians are the ones who sue for peace, while in the Egyptian version the Hittites are the ones who sue for peace. Some things never change. SPEAKERS Renée Dreyfus George and Judy Marcus Distinguished Curator, Curator in Charge, Ancient Art, Fine Arts Museums of San Francisco, de Young / Legion of Honor Rita Lucarelli Associate Professor of Egyptology, Department of Middle Eastern Languages and Cultures, University of California, Berkeley; Faculty Curator of Egyptology, Phoebe A. Hearst Museum of Anthropology, University of California, Berkeley; Fellow, Digital Humanities in Berkeley George Hammond Author, Conversations With Socrates—Moderator In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on November 4th, 2022 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week Catherine Moore and Skye Becker-Yamakawa have a thoughtful and in depth conversation with the very talented and creative Kelly Tunstall. Kelly discusses her magical experiences being an artist in residence at the de Young Museum with her incredibly talented and creative husband, Ferris Plock. She also shares her adventure creating an exciting mural with POW! WOW! in Hawaii, and so much more. Get ready to be inspired and listen to the artist, Kelly Tunstall.Check out Skye's and Catherine's work at:Skye Becker-Yamakawa IG: https://www.instagram.com/skyesartshop/ Web: http://www.skyesart.com/ Catherine Moore IG: https://www.instagram.com/teaandcanvas/ Web: http://teaandcanvas.com/ Polka Dot Raven IG: https://www.instagram.com/polkadotraven/
“Extra-Human: The Art of Michael Ferris” features larger-than-life figurative sculptures that Ferris created by fusing reclaimed discarded wood and pigmented grout through environmentally-conscious methods. The exhibition embodies a rich diffusion of cultural and artistic traditions and celebrates people's heroism in our everyday lives. Originally trained as a painter, Ferris embraced sculpture 25 years ago and developed an inlay technique of his own making, inspired by intarsia woodworking familiar to his Middle-Eastern heritage. Ferris enlists his self-invented mosaic design to enliven finely carved portraits of family and friends, capturing the subject's inner life through subtly choreographed patterning. This merger of realism and decorative splendor fulfills the artist's aim to highlight both a person's psychological and spiritual complexities. Michael Ferris's work has been exhibited widely throughout the nation at notable institutions including the Elmhurst Art Museum in Illinois; The Bronx Museum in New York; The Queens Museum of Art in New York; ATM Gallery in New York; Katonah Art Museum in New York; de Young Museum in San Francisco, California; and The Illinois State Museums in Illinois. He has received awards from numerous organizations including the New York Foundation for the Arts (2009), The George Sugarman Foundation (2005), and the American Craft Council (2002). Ferris's work can be found in public collections at the de Young Museum in San Francisco, CA; Illinois State Museum in Springfield, IL; and Crystal Bridges Museum of American Art in Bentonville, AR. His exhibitions have been featured in The New York Times, The New York Daily News, and The Chicago Tribune.Guest-curated by art historian Suzanne Ramljak, the collection will display a dozen of Ferris's distinctive wood sculptures, related drawings, and painted portraits set in intricately inlaid frames. The exhibition will be available to view from November 5, 2021, through April 24, 2022 at The Center for Art in Wood, 141 N 3rd Street, Philadelphia, PA 19106.FOR MORE INFORMATION: https://centerforartinwood.org/exhibition/extra-human-the-art-of-michael-ferris/
Join us for the third event in a 4-part series by the Center for Constitutional Rights and Haymarket Books marking the 20th anniversary of 9/11. In “Stories of Survival: Surviving the post-9/11 human rights crisis and reclaiming rights for all,” we are honored to hear from survivors of the U.S. government's so-called “War on Terror,” who have resisted the U.S.' campaign of human rights abuses, from endless wars in Iraq and Afghanistan, to the global export of the nebulous and discriminatory “terrorism framework”, and the proliferation of domestic policies of surveillance and detention that reinforced existing systems of oppression. From Kabul and Mombasa to Omaha--panelists will share the impact of the harms and together demand accountability and imagine a world repaired. Panelists: Marie Ramtu holds a master's degree in Peace Studies and International Relations from Hekima University College. She's a lobbyist with grassroots, regional, and international niches. Her experience in humanitarian, the human rights and social justice sectors spans at least 14 years. Marie has operated to safeguard the rights of the marginalized refugees and asylum seekers. She has also had a specific focus in influencing a shift in attitude, policies, and practices in the specific protection on the rights of sexual and gender minorities. Before joining Muslims for Human Rights (MUHURI) as the Executive Director, Marie worked with regional and international non-governmental organizations that include the Coalition for the Independence of the African Commission (CIAC), the Network of African National Human Rights Institutions (NANHRI), and Church World Service. Born in Kabul, Afghanistan and raised in rural Washington state, Gazelle Samizay's work often reflects the complexities and contradictions of culture, nationality and gender through the lens of her bicultural identity. Her work in photography, video and mixed media has been exhibited across the US and internationally, including at Whitechapel Gallery, London; Los Angeles Municipal Art Gallery; the California Museum of Photography, Riverside; the de Young Museum, San Francisco; and the Slamdance Film Festival, Park City, UT. In addition to her studio practice, her writing has been published in One Story, Thirty Stories: An Anthology of Contemporary Afghan American Literature and she is a founding member of the Afghan American Artists and Writers Association. Samizay has received numerous awards and residencies, including from the Princess Grace Foundation, NY; Craft Contemporary, Los Angeles; the Arizona Community Foundation, Phoenix; Level Ground, Los Angeles, the Torrance Art Museum, and Side Street Projects, Los Angeles. She received her MFA in photography at the University of Arizona and currently lives in San Francisco. www.gazellesamizay.com. @gsamizay. Naveed Shinwari is a plaintiff in Tanvir v. Tanzin, a case brought in 2013 on behalf of American Muslims who were placed or kept on the No-Fly List by the FBI for refusing to spy on their Muslim communities. He was repeatedly questioned and harassed by the FBI as they attempted to recruit him to spy on others. As retaliation for his refusal to do so, Naveed was placed on the No-Fly List and unable to travel to Afghanistan to visit his wife and daughters for two years. His fight to hold government officials accountable for their abuse of power continues. Moderator: Samah Mcgona Sisay is a Bertha Justice Fellow at the Center for Constitutional Rights, where she specializes in international human rights and challenging inhumane immigration policies and abusive police practices. Prior to coming to the Center for Constitutional Rights, Samah worked as an Equal Justice Works Fellow at African Services Committee. Watch the live event recording: https://youtu.be/1bClT5GmLJk Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks
Artist Judy Chicago made her name in the 1970s with her groundbreaking feminist piece, “The Dinner Party”. Chicago has said she didn't know if she'd live long enough to escape the shadow of that iconic piece. Now, in the first retrospective of her work, the full range of the 82 year old artist's career is on exhibit at San Francisco's de Young Museum. The retrospective highlights “how forward thinking and daring Judy has always been in tackling uncomfortable subject matter that is now very much at the forefront of our current discourse,” curator Claudia Schmuckli said. Forum talks with Judy Chicago and Schmuckli about the evolution of her art and social consciousness.
In honor of the new exhibition on Patrick Kelly which just opened at the de Young Museum in San Francisco, we re-air our 2019 episode with Dr. Eric Darnell Pritchard on Kelly's life and legacy. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com
On this episode, Laura Chandler is joined by composer, musician, and clinical psychologist, Mia Pixley, who has just released a new album, Margaret in the Wild. Mia has a degree in cello performance from the San Francisco Conservatory of Music and a Ph.D. in clinical psychology. She has performed in award-winning off-Broadway musicals, on GRAMMY award-winning records, and she has collaborated with HERE Arts in NYC, Pixar Studios, and The de Young Museum. Most recently, she performed on Barbara Higbie's latest album, with whom she tours regularly on the annual Windham Hill Winter Solstice Tour. Mia and Laura talk about music, parenting, nature, and the human psyche. They also have a moment of collaboration, putting words to music in the form of a poem of Laura's, “Sound Healing,” and Mia's song, “Core.” We feature Mia's music in full and in part throughout the episode. You can learn more about Mia at miapixley.com and you can find her music on Bandcamp.
En este episodio de Salón de Moda, Laura Beltrán-Rubio entrevista a Laura García Vedrenne sobre la conservación y restauración de textiles e indumentaria.Laura García Vedrenne es Maestra en Conservación de Textiles por el Centre for Textile Conservation and Technical Art History (CTC-TAH) de la Universidad de Glasgow y Licenciada en Restauración de Bienes Muebles por la Escuela de Conservación y Restauración de Occidente (ECRO). Desde el 2019, forma parte del equipo del Laboratorio de Conservación de Textiles del de Young Museum, en los Fine Arts Museums of San Francisco (FAMSF). Antes trabajó en el Museo Nacional de Historia (MNH) “Castillo de Chapultepec” y en el Museo Textil de Oaxaca (MTO).Recibió el Premio Paul Coremans por su tesis de maestría (2018) y de la mención honorífica por su tesis de licenciatura en Premios INAH (2016), así como del Karen Finch Prize (2018), entregado a la excelencia académica en conservación de textiles. Sus principales temas de interés incluyen los objetos textiles vistos como cultura material, la conservación de indumentaria civil y la ética en la profesión de la conservación-restauración. En los últimos años, ha realizado numerosos esfuerzos por reducir las barreras lingüísticas en la profesión al traducir contenido del inglés al español para fomentar que los hispanoparlantes tengan mayor acceso a la información.Entre los proyectos que ha concluido se encuentran la restauración del pañuelo funerario que cubrió el cráneo de Hernán Cortés, el estudio tecnológico y material de un vestido de terciopelo de alta corte de finales del siglo XVIII, una investigación sobre la resistencia al agua del carmín de índigo y, recientemente, el reemplazo de los forros de dos vestidos hechos por Callot Soeurs. Ha participado en el montaje de varias exposiciones, como Hilos de Historia: La Colección del Museo Nacional de Historia (MNH), Intervención: Índigo (MTO) y Frida Kahlo: Appearances Can Be Deceiving (FAMSF). También ha impartido cursos de conservación preventiva y de remoción de manchas con limpieza localizada.**Encuentra el trabajo de Laura en su perfil de Academia: https://independent.academia.edu/LauraGarciaVedrenneReferencias:Jules Prown, “Style as Evidence”, Winterthur Portfolio 15, no. 3 (1980): 197–210. Laura García-Vedrenne, “El reconocimiento tecnológico y material como fundamento para la conservación de un vestido de alta corte del siglo XVIII, perteneciente al acervo del MNH”, tesis de pregrado, Escuela de Conservación y Restauración de Occidente, 2016. Sarah Scaturro, “Confronting fashion's death drive: conservation, ghost labor, and the material turn within fashion curation”, en Fashion Curating: Critical Practice in the Museum and Beyond, editado por Annamari Vänskä y Hazel Clark (Londres: Bloomsbury Visual Arts, 2017), 21–38. Otros documentos y programas mencionados:Maestría en Conservación de Textiles de la Universidad de Glasgow: https://www.gla.ac.uk/postgraduate/taught/textileconservation/. Licenciatura ECRO: http://www.ecro.edu.mx/. Licenciatura ENCRyM: https://www.encrym.edu.mx/principal/licenciatura.php. Documento del ICOM-CC de Nueva Delhi (2008): https://www.ge-iic.com/2008/11/17/2008-terminologia-del-icom-para-definir-la-conservacion-del-patrimonio-cultural-tangible/ (consultado el 22 de octubre de 2021).
On the occasion of her first career retrospective, we sit down with legendary artist/feminist Judy Chicago. The exhibition , now on view at San Francisco's de Young Museum, includes approximately 130 paintings, prints, drawings, and ceramic sculptures, in addition to ephemera, several films, and a documentary. We also talk about smoke sculptures. What's a smoke sculpture? We'll get to that.
If you are familiar with the artist Judy Chicago, chances are you associate her with one piece: her magnum opus The Dinner Party, an epic work of installation art featuring elaborate place settings for 39 famous women, both mythical and historical, at a triangular banquet table. The feminist masterpiece took nearly six years and a veritable army of some 400 volunteers to complete. It became an international sensation, attracting 16 million visitors on a 10-year tour of the globe, largely organized by Chicago and her team, in the absence of institutional support from the art world. But the artwork, now on permanent view at the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art, is conspicuously absent from the 82-year-old's first-ever retrospective, which opened in August, after over a year's delay due to the pandemic, at the de Young Museum in San Francisco. The show is something of a homecoming for Chicago, who debuted The Dinner Party in the city at SFMOMA in 1979—but she's pleased that the exhibition, which does include preparatory Dinner Party works, is finally putting the spotlight on the rest of her career. "Judy Chicago: A Retrospective" curated by Claudia Schmuckli, presents some 130 artworks that seemingly encompass every medium, from paintings and drawings to tapestries and ceramics, and even photographs of her ephemeral "Women and Smoke" firework performance art series. Amid a busy fall that has seen Chicago repeatedly crisscross the country, traveling to both coasts from her home in the tiny town of Belen, New Mexico, Artnet News Senior Writer Sarah Cascone, was lucky enough to pin her down during a visit to New York for a rare pandemic-era in-person interview.
If you are familiar with the artist Judy Chicago, chances are you associate her with one piece: her magnum opus The Dinner Party, an epic work of installation art featuring elaborate place settings for 39 famous women, both mythical and historical, at a triangular banquet table. The feminist masterpiece took nearly six years and a veritable army of some 400 volunteers to complete. It became an international sensation, attracting 16 million visitors on a 10-year tour of the globe, largely organized by Chicago and her team, in the absence of institutional support from the art world. But the artwork, now on permanent view at the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art, is conspicuously absent from the 82-year-old's first-ever retrospective, which opened in August, after over a year's delay due to the pandemic, at the de Young Museum in San Francisco. The show is something of a homecoming for Chicago, who debuted The Dinner Party in the city at SFMOMA in 1979—but she's pleased that the exhibition, which does include preparatory Dinner Party works, is finally putting the spotlight on the rest of her career. "Judy Chicago: A Retrospective" curated by Claudia Schmuckli, presents some 130 artworks that seemingly encompass every medium, from paintings and drawings to tapestries and ceramics, and even photographs of her ephemeral "Women and Smoke" firework performance art series. Amid a busy fall that has seen Chicago repeatedly crisscross the country, traveling to both coasts from her home in the tiny town of Belen, New Mexico, Artnet News Senior Writer Sarah Cascone, was lucky enough to pin her down during a visit to New York for a rare pandemic-era in-person interview.
Please join us for a lively and intimate discussion on the Judy Chicago: Retrospective exhibit, which is currently showing at San Francisco's de Young Museum. The discussion is presented by the Fine Arts Museum of San Francisco Docent Victoria Kirby. Adding to the conversation will be Debra Reabock, a Bay Area visual artist and photo philanthropist. Judy Chicago is a trailblazer and leader of the feminist art moment. Kirby's talk will explore Chicago's full body of works, from her early forays into minimalism to her current work that addresses mortality and environmental issues. Judy Chicago: A Retrospective is organized on the heels of the 40th anniversary of the first showing of The Dinner Party in San Francisco and in conjunction with the 100th anniversary of the women's right to vote in the United States. How fitting a tribute to an artist who has spent a lifetime fighting for social justice and female expression. The discussion will be followed by Q&A. Have your questions ready. NOTES MLF: Arts MLF ORGANIZER Robert Melton SPEAKERS Victoria Kirby Docent, Fine Arts Museum of San Francisco Debra Reabock Visual Artists; Photo Philanthropist Robert Melton Co-chair, Arts Member-Led Forum; Curator, Farmer Gallery—Moderator In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on September 28th, 2021 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices
Please join us for a lively and intimate discussion on the Judy Chicago: Retrospective exhibit, which is currently showing at San Francisco's de Young Museum. The discussion is presented by the Fine Arts Museum of San Francisco Docent Victoria Kirby. Adding to the conversation will be Debra Reabock, a Bay Area visual artist and photo philanthropist. Judy Chicago is a trailblazer and leader of the feminist art moment. Kirby's talk will explore Chicago's full body of works, from her early forays into minimalism to her current work that addresses mortality and environmental issues. Judy Chicago: A Retrospective is organized on the heels of the 40th anniversary of the first showing of The Dinner Party in San Francisco and in conjunction with the 100th anniversary of the women's right to vote in the United States. How fitting a tribute to an artist who has spent a lifetime fighting for social justice and female expression. The discussion will be followed by Q&A. Have your questions ready. NOTES MLF: Arts MLF ORGANIZER Robert Melton SPEAKERS Victoria Kirby Docent, Fine Arts Museum of San Francisco Debra Reabock Visual Artists; Photo Philanthropist Robert Melton Co-chair, Arts Member-Led Forum; Curator, Farmer Gallery—Moderator In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on September 28th, 2021 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices
Episode No. 515 of The Modern Art Notes Podcast features curator Betsy Kornhauser and art historian Aaron M. Hyman. Along with Shannon Vittoria, Kornhauser is the co-curator of "Jules Tavernier and the Elem Pomo" at the Metropolitan Museum of Art. The exhibition examines the cultural interchange within Tavernier's Dance in a Subterranean Roundhouse at Clear Lake, California (1878), which the Met acquired in 2016, and the Elem Pomo portrayed within it. It also complicates Tavernier's picture and oeuvre by examining his other representations of Indigenous life as well as his engagement with the international banking and mining interests that developed the Clear Lake site and region represented in this picture, much of which had been made toxic by borax and mercury extraction. The exhibition is on view in New York through November 28 before traveling to the de Young Museum in San Francisco. It is accompanied by an issue of the Met Bulletin that includes contributions from Elem Pomo cultural leader and regalia maker Robert Joseph Geary. The Bulletin is not available via the web, but it may be purchased for $14.95 at the Met or via phone by calling 212-570-3894 and asking for item number 80054339. (A later MAN Podcast segment will focus on the Pomo material within the exhibition.) On the second segment, Hyman discusses his new book Rubens in Repeat: The Logic of the Copy in Colonial Latin America. It examines the impact Peter Paul Rubens's prints had on art in Spanish colonies in the Americas, and how artists in the New World came to deviate from Rubens's constructions to build a new art history. Hyman teaches art history at Johns Hopkins University. Rubens in Repeat is published by the Getty Research Institute and Getty Publications, and will be available next month. Indiebound and Amazon offer it for about $70.
Ben Simmons, the Yips, and the Cy Young Museum
Have you always wondered how a performer thinks? Or perhaps you have secretly considered yourself a performer looking for a place to happen! This episode we have the pleasure of chatting with Monique Jenkinson, aka the multifaceted, always complicated and definitely delightful Fauxnique, the first cisgender woman to win a drag queen pageant. She has toured the world with her many amazing shows including "The F Word." She chats with us about artistic expression, her process and how her winding path led her from ballet, to international recognition to her forthcoming memoir. You can learn more about Fauxnique at www.Fauxnique.netView some of her performances here or on Vimeo--------------------------------------------------------------------------------------I am an artist, performer, choreographer and writer. I made herstory as the first cis-woman to win a major drag queen pageant and subsequently my solo performance works have toured nationally and internationally in wide-ranging contexts from nightclubs to theaters to museums — from Joe's Pub, New Museum and the historic Stonewall in New York City, Yerba Buena Center for the Arts, ODC Theater, The Stud, CounterPulse and de Young Museum in San Francisco, and in Seattle, Los Angeles, New Orleans, Provincetown, London, Edinburgh, Berlin, Zürich, Paris, Reykjavik, Rome, Catania and Cork.I have created space for kids to dress drag queens at a major museum and created college curricula. I played the DIRT (originated by Justin Vivian Bond) in Taylor Mac's Lily's Revenge and Eurydike in Anne Carson's ANTIGONICK. I engaged in public conversation with Gender Studies luminary Judith Butler and RuPaul bestie Michelle Visage within days of each other. I am currently writing a memoir.Honors include residencies at Headlands Center for the Arts, Tanzhaus Zürich and Atlantic Center for the Arts, an Irvine Fellowship and residency at the de Young Museum, GOLDIE and BESTIE awards and 7X7 Magazine's Hot 20. I have been nominated for the Theater Bay Area, Isadora Duncan Dance (IZZIE) and Herb Alpert Foundation awards and have received support from San Francisco Arts Commission, Foundation for Contemporary Arts, CHIME, Center for Cultural Innovation and the Kenneth Rainin and Zellerbach Family foundations.Artist StatementMy work exists at the crossroads of Cabaret and Contemporary Dance and considers the performance of femininity as a powerful, vulnerable and subversive act. I emerged out of a feminist, postmodern, improvisational dance and choreographic lineage, and grew toward a tradition of radical queer performance that uses decadence and drag both to entertain and transcend. My practice of feminism celebrates glamour as masterful artifice, and my intimacy with both the oppressive and empowering effects of feminine tropes allows me to create a zone of play from which I make my particular critique.Since 2003 I have been deeply engaged in an ongoing performance project, my drag queen persona Fauxnique. As a lens through which I magnify my artistic concerns, Fauxnique typifies and expands the evolution of drag-based performance and furthers the feminist line of inquiry in my work. As Fauxnique, I approach the established tradition of the drag lip-sync as a dance in its own right, and bring to it the rigor of my dance training. I am on the vanguard of what is now a common practice: museums and larger institutions embracing nightclub culture as queer history and contemporary art practice. See acast.com/privacy for privacy and opt-out information.
In this episode of PhotoWork with Sasha Wolf, Sasha and photographer and teacher, Janet Delaney discuss how living and working as a photographer has changed since the 1980’s when books and shows were only for the very few photographers and finding women mentors was much more difficult. Sasha and Janet also spend a good amount of time talking about Janet’s South of Market and SOMA Now work, so do yourself a favor and take a look at those two projects before listening to this episode. http://www.janetdelaney.com Janet Delaney uses research, interviews and photography to record the untold stories of cities in transition. Her first project bore witness to the 1980s gentrification of a working-class neighborhood in San Francisco and was published as South of Market (MACK, 2013). In Public Matters (MACK, 2018), Delaney documented daily life as it unfolded alongside protests and parades in Reagan-era San Francisco. She is currently completing SoMA Now, a record of San Francisco’s rapid transformation into an international center of technology and all of the consequences these new riches have wrought. Both honest and poetic, her approach straddles the line between documentary and fine art. Delaney is a 2020 Guggenheim Fellow. She has received numerous awards, including three National Endowment for the Arts grants. Her photographs are in collections of the San Francisco Museum of Modern Art, the de Young Museum, the Pilara Foundation, the Oakland Museum of California and the Smithsonian Museum, among others. She has shown her photographs nationally and internationally and is represented by Euqinom Gallery in San Francisco, California. Delaney received her MFA from the San Francisco Art Institute in 1981. She has taught widely and held a faculty position at the University of California, Berkeley for 15 years. Find out more at https://photowork.pinecast.co
Julie and Casey sit down with legendary San Francisco dancer and drag performer, Monique Jenkinson, aka FAUXNIQUE to talk about performing femininity, both through drag and not, finding authenticity through practices of artifice, and the journey of a Good Dance Student to nightclub performer, and get some San Francisco Dragucation. *Note- we use the “c***” word a LOT in this episode, so take care for sensitive ears. TOP TAKEAWAYS Drag is not (just) men in heels—it’s a rich, smart, funny, scrappy performance tradition that uses the body and artifice to access larger themes. Other kinds of drag performance of femininity include the good girl persona, and the world of ballet. Your curiosity is a prelude to discovering your wants- conditioning can make wants hard to identify, curiosity allows you to find them, lose them and find them again. Owning your curiosity, desires, and wants is crucial Practices of artifice can be a version of authenticity Balance is the answer to binaries—balance allows for dynamic movement and change between points. Your strut is the embodiment of your energy as you enter a space, whether that is virtual or physical, and being with your right to be seen with the willingness to contribute what you have. Please join us next week for a Strut Workshop with Monique 4/28 4pm PST/7pm EST. Details are HERE: https://vitalvoicetraining.com/labs Find Monique at fauxnique.net ODC June Performance: https://www.odc.dance/festival Other People and Events Mentioned in the episode: Heklina: https://www.dragtimewithheklina.com/ Juanita More https://juanitamore.com/ TrannyShack https://www.imdb.com/title/tt0468563/ Prince “Cream” https://www.imdb.com/title/tt0468563/ PJ Harvey Sheela Na Gig: https://youtu.be/Sjxr_No-yuY Ana Matronic and Scissor Sisters https://en.wikipedia.org/wiki/Scissor_Sisters About Monique Jenkinson: "I am an artist, performer, choreographer and writer. I made herstory as the first cis-woman to win a major drag queen pageant and subsequently my solo performance works have toured nationally and internationally in wide-ranging contexts from nightclubs to theaters to museums — from Joe’s Pub, New Museum and the historic Stonewall in New York City, Yerba Buena Center for the Arts, ODC Theater, The Stud, CounterPulse and de Young Museum in San Francisco, and in Seattle, Los Angeles, New Orleans, Provincetown, London, Edinburgh, Berlin, Zürich, Paris, Reykjavik, Rome, Catania and Cork. I have created space for kids to dress drag queens at a major museum and created college curricula. I played the DIRT (originated by Justin Vivian Bond) in Taylor Mac’s Lily’s Revenge and Eurydike in Anne Carson’s ANTIGONICK. I engaged in public conversation with Gender Studies luminary Judith Butler and RuPaul bestie Michelle Visage within days of each other. I am currently writing a memoir. Honors include residencies at Headlands Center for the Arts, Tanzhaus Zürich and Atlantic Center for the Arts, an Irvine Fellowship and residency at the de Young Museum, GOLDIE and BESTIE awards and 7X7 Magazine’s Hot 20. I have been nominated for the Theater Bay Area, Isadora Duncan Dance (IZZIE) and Herb Alpert Foundation awards and have received support from San Francisco Arts Commission, Foundation for Contemporary Arts, CHIME, Center for Cultural Innovation and the Kenneth Rainin and Zellerbach Family foundations."
Artist BARBARA BRYN KLARE works with “rescued textiles,” using thread as line and cloth as paint to explore topics such as fragility and sustainability. The ARTish Plunge podcast explores how Barbara, a Ohio resident with long-held connections to the San Francisco Bay area, worked as a surface designer and had a decades-long career as a technical writer before textiles brought her back to art as both a creator and curator. Find Barbara:Website: barbarabrynklare.com Instagram: barbarabrynklare Mentioned:Cecilia Vicuña (see)Louise Bourgeois (see)Gee's Bend quilters (see)Boro and sashiko stitching (learn)Sri Threads (see)Yoshiko Wada, de Young Museum (watch)Center for Craft, Ashville NC (learn)Textile sketchbooksJody Alexander (see)"Reveal," ThisGallery.org (learn)Modern Boro / Instagram (follow)"Vanishing," ThisGallery.org (see)Flowstate.fm (listen)Find Me, Kristy Darnell Battani: Website: https://www.kristybattani.comInstagram: kristybattaniartFacebook: kristybattaniartDid you enjoy hearing about Barbara's plunge? If so, please take a moment to leave a rating and a comment: https://lovethepodcast.com/artishplunge Music:"Surf Guitar Madness," Alexis Messier,Licensed by PremiumBeat.comSupport the show (https://www.buymeacoffee.com/artishplunge)Support the show (https://www.buymeacoffee.com/artishplunge)
La storia di Jacques Herzog e Pierre de Meuron ha inizio nel 1977, quando, due anni dopo la laurea presso l'ETH di Zurigo, i due aprono lo studio a Basilea, loro città natale. Jaques e Pierre, entrambi classe 1950, entrambi reduci delle lezioni di Aldo Rossi e Luigi Snozzi presso il Politecnico svizzero, inaugurano la loro attività all'alba di una transizione importante fra le correnti architettoniche che rivaleggiavano in quel momento, ed alle quali daranno una ulteriore sferzata a fine decennio.
Adam Amram (b. 1994 Haifa, Israel) earned a B.F.A. in Painting and Printmaking from the Maryland Institute College of Art in 2016. He has shown most recently with Mother Gallery (Beacon, New York), Harpy (Rutherford, New Jersey and Brooklyn, New York), Melanie Flood Projects, Adams and Ollman Gallery (Portland, Oregon) and Resort (Baltimore). Amram attended the Yale Norfolk School of Art Summer Fellowship in 2015, and was an Artist-in-Residence at the Vermont Studio Center, in Johnson Vermont, in 2018. Amram currently lives and works in the California Bay Area, and was recently named the 2020 YoungArts Daniel Arsham Fellow. His work has recently been published in Art Maze Magazine. He is currently exhibiting a painting at the de Young Museum in San Francisco, as part of The de Young Open, a juried exhibition celebrating the Museum's 125th anniversary, and commemorating local Bay Area artists. Rendered with vivid color and graphic symmetry, Amram’s paintings, drawings, and sculptures are best characterized by fantastical narratives which both contemplate the challenges of life and relish in the remarkability of existence. --- Support this podcast: https://anchor.fm/jeremy-jirsa/support
Two people able to paint like one, especially for an extensive period of time is a rare thing indeed. For over a decade Kelly Tunstall and Ferris Plock have been presenting elaborate stories of earthly conditions through mischievous characters representative of both their individual and collective imagination. While often playful in appearance, the sprawling, interwoven tapestries provide a more surreal glance into the intersection of dreams belonging to a soundly bonded couple, both creatively and emotionally. An ever-evolving dialogue between beauties and beasts and masculine and feminine, KEFE World is a chromatically vibrant place where fantasy is reality and vice versa. Even Inanimate objects, buildings, food, and feats of other human inventions are bequeathed by their own personalities, often sharing in or driving the emotions, behavior, and energy of the subjects of each vignette. These meticulously drafted environments, both two and three dimensional, are born out of a variety of media including acrylic, watercolor, spray paint, ink, and gold leaf. An appreciation for traditional craft practice, textiles, and elaborate Japanese ukiyo-e woodblocks is present in the stylization and framework of their imagery. At their roots, Tunstall's airy and casual figures maintain a state of quiet confidence as if they are immune to society's pressures and expectations and the weight they carry in the real world. It is as if these long and elegant stylized characters leaped out of a vogue existence at the beginning of their prime, preserving all of their strengths and feminine attributes with which to explore an alternate world of boundless imagination and possibilities. Somewhere along their journeys, they stepped into Plock's semi-psychedelic cartoonish sphere occupied by living, breathing architecture and anthropomorphic creatures capable of shape-shifting seamlessly throughout their elaborate displays impish behavior. The couple's meticulously crafted modern mythology serves as a prime example of what fantastic chemistry can do when built on the foundation of trust between two partners unencumbered by artistic fears and creative anxieties. Tunstall and Plock are veterans of multiple esteemed artist residencies, including at the de Young Museum in San Francisco. Their work both individually and collectively has been exhibited in revered galleries across North America, Europe, and Asia. The duo maintains representation in San Francisco, Portland, and New York. KEFE has been commissioned for work in a bevy of private collections as well as a number of internationally recognized bars, restaurants, hotels, and other chic hospitality outposts. They have participated in a number of notable product design collaborations with Bulleit Bourbon, Uniqlo, Krooked, and Element. The duo resides and works in an occasionally foggy neighborhood in San Francisco with their two boys and two cats. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/adultingwell/support
George Barron was the curator of the de Young Museum who at times, had flashes of P.T. Barnam. Special guest Judi Leff joins the pod to regale us with stories of the colorful curator.
Please join us for an exclusive and comprehensive docent art talk by Kathryn Zupsic on the exhibit "Frida Kahlo: Appearances Can Be Deceiving," currently showing at the de Young Museum. We'll take a close look at some of Kahlo's personal items, photographs and paintings that reveal the many ways the artist constructed her identity. The talk will be followed by Q&A, so bring your questions as we decipher the world of Frida. MLF ORGANIZER Robert Melton NOTES MLF: Arts Learn more about your ad choices. Visit megaphone.fm/adchoices
Rio Yañez presents The Great Tortilla Conspiracy, a tortilla printmaking collective, that began their work at the de Young Museum in 2007 and have been silkscreening Frida's image on tortillas ever since. He shares their unique art process and new developments.
Rio Yañez presents The Great Tortilla Conspiracy, a tortilla printmaking collective, that began their work at the de Young Museum in 2007 and have been silkscreening Frida's image on tortillas ever since. He shares their unique art process and new developments.
In this Grab Bag episode, Elena and her co-host, laura brewer, talk about how to prepare for the election, what’s giving them hope and bringing them joy, what they’re reading, and how they’re practicing radical self-care. For listeners who know Elena as a coach or interviewer, you’ll get a glimpse into who she is on a more personal level and how she’s really feeling these days. This episode is for you if:You’re looking for ideas and support to prepare for and manage election weekYou’re looking for more ideas to boost your resilienceYou’re curious about what’s going on with Elena’s eyebrows Mentioned in this Episode: laura brewer, co-hostFat and the Moon: face oil, body oil, and face mistThe de Young Museum in San FranciscoStacey Goodman - Elena’s husband, the artistHow to Make Love podcast, Episode 56 - laura’s podcast Being with Dying, by Joan HalifaxBraiding Sweetgrass, Robin Wall Kimmerer
Sights and Sounds is your weekly guide the Bay Area arts scene through the eyes and ears of local artists. This week, host Jenee Darden speaks with author and albinism activist Natalie Devora. Angela Davis: Seize The Time This book is a collection of essays, interviews and images by various artists who speak to the impact the legendary activist has made for decades. The book is inspired by a personal archive of Oakland-based collector Lisbet Tellefsen. Frida Kahlo: Appearances Can Be Deceiving It's the exhibit a lot of people in the Bay Area have been waiting for. Take a look at Frida Kahlo's personal things at San Francisco's de Young Museum. According to their website, when Frida died in 1954, a treasure trove of her jewelry, clothing, and prosthetics were locked away. Now they’re on view for the first time on the West Coast. See it now through Feb. 7th. Festival of Black Dolls Show Black doll makers from across California are celebrated at this annual event. The African American
In this episode Jared speaks with Zach Blas, an artist, filmmaker and writer whose videos and mixed media installations draw queer readings on American mythologies around tech, psychedelia and the Californian Ideology, expanding these through the language of science fiction.Born in West Virginia, studying in California, and now at home in London where he is a Lecturer in the Department of Visual Cultures at Goldsmiths, Zach has presented work for the likes of de Young Museum, San Francisco, the Walker Art Center, Minneapolis, the Gwangju Biennale, Whitechapel Gallery, London and more.
In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Todd Hido, have a wide-ranging conversation about Todd's roles as an artist and an educator. Todd shares his ideas about how students should follow the John Cage rule and “ Find a place you trust and try trusting it for a while”, and how, as a student himself, he had to push back against a critique to make his work less subjective! Todd and Sasha find common ground through cinematic influences and the desire for hope as a motivator to keep working. There is much to love and learn from in this episode as Hido is extremely generous with his hard won wisdom. Todd Hido is a San Francisco Bay Area-based artist whose work has been featured in Artforum, The New York Times Magazine, Eyemazing, Wired, Elephant, FOAM, and Vanity Fair. His photographs are in the permanent collections of the Getty, the Whitney Museum of Art, the Guggenheim Museum, New York, San Francisco Museum of Modern Art, the de Young Museum, the Smithsonian, the Los Angeles County Museum of Art, as well as in many other public and private collections. Most notably, Pier 24 Photography holds the archive of all his published works. He has over a dozen published books; his most recent monograph titled Excerpts from Silver Meadows was released in 2013, along with an innovative B-Sides Box Set designed to function as a companion piece to his award-winning monograph. Aperture has published his mid-career survey entitled Intimate Distance: Twenty-Five Years of Photographs, a Chronological Album in October of 2016. His next book titled Bright Black World will be released by Nazraeli Press in the fall of 2018. In addition to Hido being an artist, he is also a collector and over the last 25 years has created one of the most notable photobook collections. His library will be featured in Bibliomania: The World’s Most Interesting Private Libraries forthcoming in 2018 by Random House. http://www.toddhido.com
This week we'll meet activist/performer/impresario and historian Lenwood O. Sloan, a man whose extraordinary career has unfolded like a half century-long social change musical. THRESHOLD QUESTIONS AND DELICIOUS QUOTES?What defines a "gunrunner for the arts?" "I try to take things that already exist, and through positioning and repositioning to create magic, you know, to motivate, but performance and visual art, literature and writing, film, you know, whatever medium is the best catalyst or elixir for the magic, but I'm a gun runner for the arts" ? How does history become an art form? "Well, you know, everything has a history, and everything has a story, and it's the human person that is the juice that brings the linear, sequential, chronological history, and oral tradition of storytelling together into art. It's not what happened in 1864, 1791, or 2018 you know. It's who were the people? What does it mean to you? What relevance does it have for your story today?" ?What can the historic struggles for the passage of the 15th and 19th amendments to the U.S. Constitution teach us as we navigate the Covid Universe? "You know African American women, 1918 to 1920, who were trying to not only support to vote for women but to find a place for themselves and that they were doing that against the landscape of the 1918 flu. They were doing it in a pandemic year. You know, they were doing it with their men coming back from World War One having segregation in their communities. They, they were doing it on the eve of a national election of 1920, and they were doing it on the eve of the 1920 Census." ?Monuments have often been used to distort and obscure our complex history. How can a monument reveal and celebrate these buried stories? "So I felt that it was essential that we do something old and big and exciting between the primary and the national election to call African Americans and women through the vote, and I felt that we needed to do something Bill that was not about ribbon cutting or confetti, but that we needed to do something bold and audacious" TRANSCRIPT Episode 2—Leni Sloan: A Gunrunner for the Arts Bill Cleveland: Leni Sloan's father was an iron worker in Pittsburgh, Pennsylvania. He made his mark scaling and helping to erect the tallest buildings in that city's newly soaring post World War Two skyline. When he wasn't climbing iron, Leni's dad would wander local fields lovingly netting butterflies for his precious collection. When Leni was a teenager, his dad took a fall on the job that put him in a wheelchair for the rest of his life. When I met Leni in the late 1970s, he described a play he was working on. A tribute to his father called Wheels and Butterflies, which, in turn inspired me to make this song. From the Center for the Study of Art and Community, this is Change the Story Change the World, a chronicle of art and transformation. I'm Bill Cleveland. When I was a kid, I fell in love with the 1930s movie musicals that would often appear on late-night TV. I'm not sure what it was that attracted me. I suppose their airy predictability was reassuring, a little romance, a little drama all wrapped up in a comforting embrace of those inevitably over the top song and dance numbers. "Hey, kids, listen up. I'm going to write a show for us, and we could put it on right here." Now, my friend Leni Sloan grew up watching those old TV shows too, and like me, he took them to heart. The first time I saw, Leni was on a Sacramento stage, starring in a musical played also written and directed called the Wake. The Wake also had a provocative subtitle, three black, and three white refined Jubilee minstrels. It had been commissioned by San Francisco's de Young Museum as a part of the 1976 us bicentennial celebration. The production I saw was in the middle of a three-year World Tour. The story was set in the backstage dressing room at the Ziegfeld Follies, where the ghosts of six famous minstrels, three black and three... Support this podcast
This bonus episode of Creative Mind features Jean Paul Gaultier, a French haute couture and prêt-à-porter fashion designer. Enjoy the highlight of his inspirational lecture from his visit to Academy of Art University when he came to San Francisco for the opening of the exhibition at the de Young Museum, “The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk” in 2012. You can watch the full version of his talk on Academy of Art University’s YouTube channel. https://youtu.be/7LJHbqVPK98 Dubbed fashion’s enfant terrible, Jean Paul Gaultier launched his first prêt-à-porter collection in 1976 and founded his own couture house in 1997. Emerging as a designer in the 1970s, he developed his own dress codes that reflected the changing world around him. Link: The full version of Jean Paul Gaultier’s talk Jean Paul Gaultier’s visit to Academy of Art University School of Fashion ***** Established in 1929, Academy of Art University is one of the largest private accredited art and design schools in the nation. Located in San Francisco, the epicenter of culture and technology, Academy of Art University offers more than 135 accredited degree programs spanning 40 areas of study, including entertainment arts, advertising, fashion, architecture, game development, music, communication, photography and more. To learn more about Academy of Art University, visit academyart.edu/creativemind Follow us on Instagram / Twitter / Facebook / LinkedIn / YouTube
Please join The Commonwealth Club of California and UC Berkeley's Townsend Center for the Humanities for the second in a series of dialogues on catastrophe, storytelling and the present moment. In “Climate Change and Sacred Groves,” Townsend Center scholar Sugata Ray will meet with visual artist Ranu Mukherjee to investigate the relationship between the natural world and the sacred realm, especially as it has developed in India over the last several centuries of civilization and the rise of the Anthropocene era. In his most recent book, Climate Change and the Art of Devotion, Sugata shows how a site-specific and ecologically grounded theology emerged in northern India in the wake of the Little Ice Age (ca. 1550–1850), an epoch marked by climatic catastrophes across the globe. His interests dovetail in unexpected and compelling ways with Ranu's visionary and captivating recent work, which positions the banyan tree as a meeting point between ecology and culture. Their conversation will be an opportunity for viewers to contemplate and rethink the role of art as it relates to contemporary concerns around climate, disease, human flourishing and the sacred. Sugata Ray is associate professor of South and Southeast Asian art in the History of Art Department at the University of California, Berkeley. His research and writing focus on climate change and the visual arts from the 1500s onward. Ray is the author of Climate Change and the Art of Devotion: Geoaesthetics in the Land of Krishna, 1550–1850 (2019); Water Histories of South Asia: The Materiality of Liquescence (2019; coedited); and Ecologies, Aesthetics, and Histories of Art (forthcoming; coedited). Ranu Mukherjee is a visual artist who makes paintings, animations and large-scale installations. Her current work focuses on shifting senses of ecology, non-human agency, diaspora, migration and transnational feminist experience. Her most recent installation was presented at the ecologically focused 2019 Karachi Biennale; she has exhibited solo at the San Jose Museum of Art, the Los Angeles Museum of Contemporary Art, the Asian Art Museum, and the de Young Museum. She is an associate professor in graduate fine art at the California College of the Arts. Mukherjee is represented by Gallery Wendi Norris. Learn more about your ad choices. Visit megaphone.fm/adchoices
At UNTITLED, ART San Francisco 2020, Mike Henderson, accomplished musician and Bay Area artist included in Soul of a Nation: Art in the Age of Black Power at the de Young Museum, performed a special musical set highlighting the influence of blues music on African American artists from the 1960s-1980s. Listen now to hear Henderson and his band perform, and check out Writer in Residence, Brian Boucher's take on the performance at Pier 35 on Friday, January 17, 2020: https://medium.com/@UNTITLEDARTFAIR/
Sights and Sounds is your weekly guide to the Bay Area arts scene through the eyes and ears of local artists. This week, host Jeneé Darden sits down with author and educator Lisa D. Gray to talk about three events happening around the Bay Area this weekend. Soul of a Nation: Art in the Age of Black Power 1963-1983 at the de Young Museum Just Mercy Black and Brown Comix Art Festival in San Francisco The beautiful de Young Museum’s latest exhibition is Soul of a Nation . It focuses on the work of Black artists, particularly those from the Bay Area, during the Black Power Movement. The exhibit runs until March 15th. The de Young, located in San Francisco, is also hosting several discussions and other events related to the Black Power Movement. Check out the museum’s website for information about free and discounted entry . Michael B. Jordan, Jamie Foxx and Brie Larsen star in the new critically acclaimed film Just Mercy . The movie is based on the riveting memoir of the same name. It
In Episode 13 of The Great Women Artists Podcast, Katy Hessel interviews one of the most important and groundbreaking curators working today, Dr Zoe Whitley on BETYE SAAR!! And WOW was it incredible to record with Zoe at London's Hayward Gallery – where she is senior curator – to discuss the life and work of the now 93 year-old Betye, who featured in Zoe's 2017 Tate Modern (and now touring) exhibition, SOUL OF A NATION! Betye Saar is one of the most important artists in contemporary art, and currently has solo exhibitions on right now at both MoMA and LACMA! Known for her political collages and assemblages of found objects that mix surreal symbolic imagery with a folk art aesthetic, Saar has contributed enormously to the history of art from her involvement with the Black Arts Movement of the 1960s and 70s, right up to the present day. Growing up in the 30s and 40s in Los Angeles, Saar was inspired by Joseph Cornell’s assemblages and Simon Rodia’s “Watts Towers” nearby to where she grew up made from found scrap materials. Raised by strong women who always encouraged her creativity, as well as identity as a black woman, Saar’s work predominately critiques American racism toward blacks. It was in the 1960s that she began collecting images of stereotypes African-American figures from folk culture and advertising of the Jim Crow era, which she transformed into figures of political protest. A work we discuss in depth is “The Liberation of Aunt Jemima” which remains one of her most important works from this era (also exhibited at Zoe's incredible “Soul of a Nation”), a mixed-media assemblage which uses the stereotypical figure of the ‘mammy’ to subvert traditions of race and gender. Speaking about the work she said: “I feel that The Liberation of Aunt Jemima is my iconic art piece. I had no idea she would become so important to so many. The reason I created her was to combat bigotry and racism and today she stills serves as my warrior against those ills of our society.” She is INCREDIBLE, and a force. And Zoe's enthusiasm, personal approach and expertise in Betye Saar is SO inspiring!!! If you want to see more then DO NOT miss Zoe's co-curated "Soul of a Nation: Art in the Age of Black Power 1963–1983" currently on view at San Francisco's de Young Museum (https://deyoung.famsf.org/exhibitions/soul-of-a-nation); and for those in LA and NYC don't miss her show at MoMA (https://www.moma.org/calendar/exhibitions/5060) and LACMA (https://www.lacma.org/art/exhibition/betye-saar-call-and-response). . GO BETYE! Works discussed in this episode/ Further reading Black Girls Window (1969) https://www.moma.org/audio/playlist/302The Liberation of Aunt Jemima (1972) http://revolution.berkeley.edu/liberation-aunt-jemima/ Soul of a Nation at Tate Modern https://www.tate.org.uk/whats-on/tate-modern/exhibition/soul-nation-art-age-black-power Here is also an incredible essay recently published in the NY Times https://www.nytimes.com/2019/09/04/arts/design/betye-saar.html Thank you for listening!! This episode is sponsored by the National Art Pass and the Affordable Art Fair! @artfund: https://bit.ly/32HJVDk To receive a free tote bag with your National Art Pass, enter the code GREAT at checkout! @affordableartfairuk: https://affordableartfair.com/ Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Recorded by Joel Price Sound editing by @_ellieclifford Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/
Friday, November 8, 2019 In the Fall of 2018, de Young Museum organized a pioneering exhibition entitled, ‘Contemporary Muslim Fashions’. The exhibition focused on the complex, diverse nature of Muslim dress codes worldwide. As we were the first major US museum to have ever explored this topic, we were up against a large amount of misinformation and Islamophobia. The questions quickly became: how do we educate our visitors on this subject while ensuring the museum is a welcoming environment to the Muslim community? We will tell the story of how we created a Facebook Group within the official museum Facebook page that grew to 500+ members sharing discussions on Muslim fashion, what it’s like to be Muslim in America, etc. These weren’t topics this community would have felt comfortable discussing in a public digital space, but by carving out a platform within our brand’s ecosystem, we fostered discussion that led to productive community engagement. By integrating representation and community outreach into our digital strategies rather than layering it on top simply for show, we can build spaces that amplify the voices of our communities and build more authentic connections. Session Type30-Minute Session (Presentation or Case Study) TrackContent Chatham House RuleNo Key Outcomes After attending this session, participants will have tangible examples of ways they can more authentically engage the communities they strive to represent. They will have guidance on how to broach intimidating topics and speak authentically, even when their staff may not represent the voices they aim to amplify. By learning to ask the right questions, create with a purpose, and set clear goals at the outset of a project, attendees will also now be able to create more effective digital platform strategies by asking, “What is our goal in creating content for this platform? Who is our audience? What will they get out of this, and will they feel represented?” Speakers Session Leader : Jessie Ayala, Digital Engagement Manager, Fine Arts Museums of San Francisco Co-Presenter : Miriam Newcomer, Director of Communications, Fine Arts Museums of San Francisco
http://www.hunterfranks.com/shop/threehundredandsixtyfivelists-book Hunter Franks creates ways for people to share introspections, hear other people’s stories, and reimagine social norms. His practice encompasses community-based public art, visual work, writing, and installation. He shares cultural commentary and conducts actions that display that we are all far more similar than we are different. As people begin to contemplate their own role in shaping culture, they begin to reimagine the possibilities present for connection, empathy, love, and joy within their own lives, their neighborhood, and their city. His projects include a 500 person dinner on a freeway, a storytelling exchange to connect disparate neighborhoods, a swing on a subway, and a year of creative daily lists. His Neighborhood Postcard Project has been carried out in 26 communities around the world from Chennai, India to Santiago, Chile and he is the founder of the League of Creative Interventionists, a nationwide network of community catalysts using art and culture to reimagine their cities. His work has been carried out in public spaces and venues around the United States including the de Young Museum, Mural Arts Program, Asian Art Museum, 111 Minna Gallery, Akron Art Museum, Outside Lands Music and Arts Festival, and Detroit’s Eastern Market. His work has been featured in the Los Angeles Times, the Guardian, Fast Company, Curbed, and Univision. In 2014, Franks was named to GOOD Magazine’s GOOD 100, an annual showcase of individuals at the cutting-edge of creative impact. In 2016, he was chosen to participate in the Studio Residency Program at Root Division, a San Francisco arts non-profit. In 2017, Franks received a Yerba Buena Center for the Arts Fellowship to address equity. In 2018, his idea to transform a freeway into a forest won the Knight Cities Challenge, a nationwide call for civic ideas. Franks is currently an Alumni Studio Artist at Root Division, resides in Northern California, and speaks about his work around the country. Before you check out my accomplishments, check out my list of Rejected Applications and Unfunded Ideas. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/possibilityhours/support
Julian Hoeber (b. 1974, Philadelphia, PA) holds a BA in Art History from Tufts University, Medford, MA, a BFA from the School of the Museum of Fine Arts, Boston, MA and an MFA from the ArtCenter College of Design, Pasadena, CA. Hoeber is a multidisciplinary artist whose practice centers on themes such as the problem of the proximity of thought and form, intuitive processes within geometrical compositional systems, and the quest to combine conceptualist strategies (mind) with that which is experiential (body). For Hoeber, many of the binary categories used to define art, culture, and social relations are non-functional or imperfect. Rather than operating as polarities, categories such as interior and exterior, psychic and somatic, rational and irrational, are able to occupy the same space in his work. Hoeber harnesses rigor and exactitude in service of the emotional and idiosyncratic, revealing that his conceptual strategies and modes of inquiry are subjective and poetic. Going Nowhere, a years-long endeavor to design an architectural structure in the shape of the artist’s thinking is explored through tromp l’oeil paintings, architecturally inspired sculpture, and drawing. Hoeber’s work is featured in public and private collections internationally including Dallas Museum of Art, Dallas, TX; de Young Museum, San Francisco, CA; DESTE Foundation for Contemporary Art, Athens, Greece; Hammer Museum, Los Angeles, CA; Museum of Contemporary Art, Los Angeles, CA; Museum of Modern Art, New York, NY; Nasher Sculpture Center, Dallas, TX; Rosenblum Collection, Paris, France; Rubell Family Collection, Miami, FL; Francis Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY; and the Western Bridge Museum, Seattle, WA. Julian Hoeber lives and works in Los Angeles, CA. Installation View of Julian Hoeber at Rosenwald-Wolf Gallery, Philadelphia, PA 2019. Photo © Heather Rasmussen Mood, Latex, enamel on plywood with polyester resin, fiberglass, bondo, epoxy, acrylic paint, 36 x 24 x 6 inches / 91.4 x 61 x 15.2cm, 2018. Photo © Heather Rasmussen
#006 Rie & Nagisa 今回はRieから”4th of July”＝アメリカの建国記念日にまつわるお話や、サンフランシスコ在住のThe Potluck Sistersがピクニックで訪ねた名所たち、Nagisaからは体験してきた事前オーダー＆決済ができちゃう次世代コーヒースタンドの話を。メイントピックでは、Walmartに買収されたD2Cブランドが売却される？というタイムリーなニュースから、D2Cブランドと大企業の関係性について考えてみました。 【Shownote】 ✓4th of July：建国記念日 ✓Potluck Sistersが週末ピクニックで行ったスポット Painted Ladies https://www.sftravel.com/painted-ladies de Young Museum https://deyoung.famsf.org/ ✓TOUCH AND GO COFFEE：Nagisaが行った日本橋のコーヒースタンド https://touch-and-go-coffee.jp/ Nagisaによるレポート記事：https://spur.hpplus.jp/culture/nagisaichikawa/201907/08/OHQykoI/ ✓ジュエリーのD2Cブランド AUrate https://auratenewyork.com/ ✓Walmartがこれまで買収したD2Cブランドの売却を検討中？ https://jp.reuters.com/article/walmart-divestiture-idJPL4N2442UV Walmart https://corporate.walmart.com/ ✓Walmartがこれまで買収したD2Cブランドたち Modcloth https://www.modcloth.com BONOBOS https://bonobos.com ELOQUII https://www.eloquii.com ✓これまで大企業に買収されたD2Cブランド TRUNKCLUB https://www.trunkclub.com/ HARRY'S https://www.harrys.com/en/us DOLLAR SHAVE CLUB https://www.dollarshaveclub.com/ FOOTLOCKER https://www.footlocker.com/ ――――――――――――――――――― The Potluck Instagramも始まったのでぜひフォローを！ Podcastで触れた場所や商品、ブランドなどの写真もポストしています。 https://www.instagram.com/thepotluckus/ ――――――――――――――――――― リクエスト、感想などはハッシュタグ #ThePotluck をつけてポストしてください
Much more than practical tools for cooling the body, Laura Camerlengo joins us to speak about the myriad of ways fans have been used historically as emblems of status and tools of communication. Her exhibition Fans of the 18th Century is on view now through June 30, 2019 at the de Young Museum in San Francisco. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers
Gabriel Martinez specializes in political art and Visual Cultural design. Gabriel has an eclectic history of being an artist whose works span the spectrum of being displayed on Bay Area gallery walls or finding their way directly to the hands of people for political empowerment. He has even had his portrait displayed at the de Young Museum. Gabriel's work unifies art and design. The discursive style elements in Gabriel's work have been inspired by the graphic works of lowbrow art, political cartoons, and culture jamming. Thus, Gabriel has always been comfortable creating with a stylus and a ruler. He realized his knack for doing straight forward graphic design when he enlisted himself to create communication material to promote his art. Working as a graphic designer has allowed Gabriel to be around other creatives and to work for organizations with an emphasis in social justice. Links: In the interview, Gabriel mentions studying with mural artist Juana Alicia at Berkeley City College. We also discuss “instagrammable” art and how artists and museums are utilizing this new tool with the example of Masako Miki who recently exhibited at the Berkeley Art Museum and Pacific Film Archive. Learn more about Gabriel on Linkedin and Behance. Keep up to date on Gabriel's art musings @sfavc_web on Twitter. As always, podcast music is provided by Mr. Neat Beats.
Last week we had some clues to help us figure out a neighborhood. In today’s episode of Escrow Out Loud, our San Francisco Real Estate podcast, we reveal the answer and play round two. With a whole new set of clues how quickly can you guess the neighborhood this time?[00:47] The mystery neighborhood from last week’s episode, Are You Smarter Than a Realtor, Neighborhood #1, is…Pacific Heights.[01:20] Clue 1: One of the oldest bars in San Francisco, The Little Shamrock, is in this week's neighborhood.[02:01] Clue 2: Some say you can find the best Chinese chicken wings in the city in this neighborhood at the San Tung Chinese Restaurant.[02:28] Clue 3: This is a neighborhood without a single park within its boundaries.[02:46] Clue 4: However, it is a very park-adjacent neighborhood, including: Golden Gate Park, Grandview Park and J.P. Murphy Playground.[03:18] Clue 5: When exploring this neighborhood you can easily have a seat in public, as the Public Bench Project started here.[04:15] Clue 6: A well known worker-owned bakery cooperative, Arizmendi, opened their first location in San Francisco in this neighborhood.[04:43] Clue 7: This neighborhood used to have a very famous video rental store – today it is a book store![05:26] Clue 8: World class scientific discoveries and trend-setting public health policy research comes from the institution, which also happens to be this neighborhood’s biggest employer – UCSF.[06:00] Clue 9: If you are going to the Japanese Tea Garden, the Conservatory of Flowers, the de Young Museum, the California Academy of Sciences or the Bison Paddock, from this neighborhood, leave your car at home as walking will get you there quicker![06:45] Clue 10: The most heavily used light rail line in the city serves this neighborhood.[07:11] And finally: Within the bounds of this neighborhood you will find, Alice Fong Yu School, the very first Chinese immersion public school in the country.Tune in next week for the reveal!Thank you for listening. If you enjoyed this episode leave us a review on your favorite platform, tell your friends and don’t forget to join us again next week! See acast.com/privacy for privacy and opt-out information.
Introduction by Amy Rosenblum Martín, Independent Curator and Educator, Guggenheim DIS (est. 2010) is a New York-based collective composed of Lauren Boyle, Solomon Chase, Marco Roso, and David Toro. Its cultural interventions are manifest across a range of media and platforms, from site-specific museum and gallery exhibitions to ongoing online projects. In 2018 the collective transitioned platforms from an online magazine, dismagazine.com, to a video streaming edutainment platform, dis.art, narrowing in on the future of education and entertainment. DIS Magazine (2010-2017); DISimages (2013), DISown (2014), Curators of the 9th Berlin Biennale for Contemporary Art, The Present in Drag (2016); DIS.art (2018–); Exhibited and organized shows at the de Young Museum, San Francisco; La Casa Encendida, Madrid; Plug In Institute of Contemporary Art, Winnipeg; Baltimore Museum of Art; and Project Native Informant, London. DIS has also been included in group exhibitions at MoMA PS1, Museum of Modern Art, and the New Museum all in New York; and Musée d’Art Moderne de la Ville de Paris; ICA Boston; Museum of Contemporary Art Chicago; and Kunsthal Charlottenborg, Copenhagen, among others. The material presented by DIS today is the result of a change in attitude towards the present and aims to meet the demands of contemporary social, political, and economic complexity at eye level. Introducer Amy Rosenblum Martín is a bilingual (English/Spanish) curator of contemporary art, committed to equity and community engagement. Formerly a staff curator at the Pérez Art Museum Miami (when it was MAM) and The Bronx Museum, she has also organized exhibitions, written and/or lectured independently for la Colección Patricia Phelps de Cisneros, MoMA, The Metropolitan, MACBA in Barcelona, the Reina Sofía, and Kunsthaus Bregenz as well as the Sugar Hill Children’s Museum. Her 20 years of interdepartmental museum work include 10 years at the Guggenheim. Rosenblum Martín’s expertise is in Latin America, focusing on transhistorical connections among Buenos Aires, Montevideo, Rio de Janeiro, São Paulo, Caracas, Havana, Miami, and New York. She has worked with Janine Antoni, Lothar Baumgarten, Guy Ben-Ner, Janet Cardiff, Eloísa Cartonera, Consuelo Castañeda, Lygia Clark, Willie Cole, Jeannette Ehlers, Teresita Fernández, Naomi Fisher, Marlon Griffith, Lucio Fontana, Dara Friedman, Luis Gispert, Felix Gonzalez-Torres, Adler Guerrier, Ann Hamilton, Quisqueya Henríquez, Leslie Hewitt, Nadia Huggins, Deborah Jack, Seydou Keita, Gyula Kosice, Matthieu Laurette, Miguel Luciano, Gordon Matta-Clark, Ana Mendieta, Antoni Miralda, Marisa Morán Jahn, Glexis Novoa, Hélio Oiticica, Dennis Oppenheim, Nam June Paik, Manuel Piña, Miguel Angel Ríos, Bert Rodriguez, Marco Roso, Nancy Rubins, George Sánchez-Calderón, Beatriz Santiago Muñoz, Tomás Saraceno, Karin Schneider, Regina Silveira, Lorna Simpson, Valeska Soares, Javier Tellez, Joaquín Torres García, and Fred Wilson, among many other remarkable artists.
Victoria Mara Heilweil is a photographic artist, curator, and educator based in San Francisco, CA. I met Victoria at an opening here in San Diego a couple of years ago and immediately hit it off with her, as our work is very much on the same wavelength. In our conversation we talked about the importance of imperfection and the everyday in her work, placing her work in a feminist context, and her experience as an independent curator in San Francisco. Then for the second segment, we talked about the state of education in the United States, and the lack of respect given to teachers. (Converation recorded January 15, 2019.) Subscribe: iTunes | Google Play | Stitcher | YouTube | RSS Support: Support our Patreon | Leave a review Share: Tweet this episode | Share to Facebook Connect: Email | Facebook | Twitter | Instagram | YouTube Show Notes: Victoria Mara Heilweil San Diego Art Institute - Trinh Mai: That We Should Be Heirs Trinh Mai - That We Should Be Heirs LikeWise Fiction Kickstarter Victoria Mara Heilweil - Sisyphus Victoria Mara Heilweil - Remnant Victoria Mara Heilweil - Drop Instagram - @victoriamaraheilweil Art Works Downtown - Ordinary Man Ray Marcel Duchamp MicroClimate Collective Common Core State Standards Initiative SFMOMA - Vija Celamins: To Fix the Image in Memory de Young Museum
This week, we're excited to welcome chef Preeti Mistry to SALT + SPINE, the podcast on stories behind cookbooks.Preeti is the author of The Juhu Beach Club Cookbook: Indian Spice, Oakland Soul, and the force behind the for-now-shuttered Juhu Beach Club restaurant.A graduate of Le Cordon Bleu, Preeti worked in fine dining, and then as executive chef at the de Young Museum and Google before opening Juhu Beach Club. A short stint on the sixth season of Top Chef marked Preeti's national debut.Preeti's first cookbook, The Juhu Beach Club Cookbook, highlights some of the best and most well-known dishes from the restaurant—from the famous Manchurian Cauliflower to the Pulled Pork Vindaloo Pav to the JBC Doswaffle, a hybrid between a South Indian dosa and a Belgian-style waffle.We sat down with Preeti at San Francisco's The Civic Kitchen cooking school to talk about this cookbook-memoir, their influences, and Preeti’s philosophy behind running a restaurant. Get full access to Salt + Spine at saltandspine.substack.com/subscribe
« Prenons des photos, mais surtout vivons pleinement l’expérience. » Écouter l’épisode À la fin des années 90, j’ai vécu dans l’East Bay en Californie du Nord. Les week-ends, je traversais le Bay Bridge pour profiter de San Francisco, une ville animée avec ses nombreux restaurants, bars, festivals et expositions. J’allais souvent dans le Golden Gate Park qui en plus d’être un grand parc offrait en son centre le Young Museum. Créé en 1895, ce musée dédié aux beaux-arts, proposait et propose encore une grande palette d’expositions. L’une des expositions les plus appréciées est Bouquets to Art. Pour cet évènement, des fleuristes créent des bouquets en réponse à des oeuvres d’arts (anciennes et contemporaines). Pour l’édition de cette année 2018, la 34e, le musée a dû faire face à un problème qui n’existait pas à l’époque de mon séjour: Instagram! Depuis les récentes années, le Young Museum a reçu plus de mille doléances de personnes notant que l’utilisation excessive des téléphones portables par beaucoup de visiteurs a affecté leur expérience de l’exposition. Pour y faire face, le musée propose maintenant des créneaux « no photo please » de quelques heures par jour. C’est un compromis, la direction ne peut pas se permettre d’interdire tout le temps la prise des photos, car les réseaux sociaux sont devenus un moyen de faire connaître l’évènement, et de plus en plus de personnes viennent uniquement pour prendre des photos. Prendre des photos à tout-va est devenu le nouveau normal Dans une interview pour le Time magazine, Morgan Holzer, une trentenaire habitant San Francisco, note avoir été surprise par la furie autour des oeuvres. Les portables à la main, c’était une frénésie de clics. En approchant l’un des bouquets pour lire le descriptif, elle s’est sentie un peu coupable, car elle empêchait les autres de prendre une photo. Elle avait l’impression d’aller à l’encontre de la majorité pour qui la prise de photos et de selfies semble être devenue le nouveau normal. Pourquoi n’arrive-t-on plus à simplement vivre l’expérience sans chercher à la capturer? Surtout que comme le note une étude publiée dans la revue Psychological Science, les personnes qui prennent des photos à une exposition plutôt que de simplement observer ont plus de difficulté à se rappeler ce qu’ils ont vu. Il semblerait que vivre l’expérience ne suffise plus. Il faut la capturer et la montrer aux autres. La raison pour cela c’est que l’on continue à dépendre de l’approbation des autres. Je dis continue car c’est un mécanisme qui commence durant l’enfance. Un enfant pour survire a besoin de l’attention et de l’amour de ses parents. Il va rechercher leur attention à travers les moyens qu’il a: les pleurs en tant que bébé, puis en grandissant, il va rechercher leur amour garant d’une attention bienveillante. Si ce besoin d’acceptation est naturel pour un enfant, il devient problématique lorsqu’il persiste à l’âge adulte. Besoin d’approbation Je rencontre souvent chez l’autre ce besoin d’approbation. Au lieu de vivre à partir de ses ressentis, on vit à partir de l’approbation de l’extérieur (la société, ses proches, son modèle familial, son ou sa partenaire de vie). On croit que l’on a besoin d’agir et d’être d’une certaine façon pour être apprécié et aimé. Ce mécanisme inconscient est dû au fait que l’on n’est pas encore réellement passé à l’âge adulte. On continue à croire que l’on a besoin de l’approbation d’autrui pour exister. Cette transition incomplète trouve son origine dans une enfance où l’on a ressenti la peur de perdre l’amour de ses parents. En effet, des parents peu présents, peu communicatifs, soucieux ou dépressifs, risquent malgré eux de créer un environnement où l’enfant perçoit un manque d’amour. Ils ont beau aimer leur enfant, la qualité de leur présence (physique et mental) est amoindrie plongeant l’enfant dans un état d’inquiétude. L’enfant va alors croire qu’il doit changer quelque chose en lui pour être aimé.
[Art: Installation/Performance, Poetry] “Black Lesbians” contributor Indira Allegra dives into her art, process, and journey. Indira works with tension as creative material through sculpture and performance. She has been honored with the Jackson Literary Award, Lambda Literary Fellowship and Windgate Craft Fellowship. Her work has been featured on BBC Radio 4 and Surface Design Magazine. Allegra’s writing has been widely anthologized, and her commissions include works for SFMOMA, de Young Museum, The Wattis Institute, City of Oakland, SFJAZZ Poetry Festival and the National Queer Arts Festival. Indira is a KQED ‘Woman to Watch’ and 2018 Art + Process + Ideas Visiting Artist at Mills College.
A denim-embellished, sewing inspiration, field trip to the San Franciso de Young Museum’s 50’th anniversary of the Summer of Love – at the de Young museum in San Francisco's Golden Gate Park, about 4 miles away from the Polo Fields where the Summer of Love’s Human Be In was celebrated. So just step on in to your time portal of choice and …. Let it all hang out…. - We’ll start with…Pensamientos Primeros: Hey, had you realized that this summer marks the 50’th anniversy of the Summer of Love in San Franciso? Wow – Far Out Sister! - Entonces Un excursion / Then a field trip - Join me for a short field trip to the Summer of Love ! - Y en Pensamientos Finales/And in Final Thoughts : A Perpetual Summer * * Resources * * Xilocuatla - Nahuatl http://www.mexicantextiles.com
Welcome, lovers! In this week's episode of Queers in Space, Philip and Kar will be turning on, tuning in, and dropping out as we discuss the year 1967 direct from the epicenter of the Summer of Love, San Francisco. Fresh from a trip to the de Young Museum, we travel back in time 50 years and see what the hippies were so trippy about. The clothes! The music! The politics? Two major revelations of the day involve macrame and Spencer Tracy. See you in space!
Steve Ferrera is a sculptor from Berkeley California whose work crosses many disciplines including film, television, stop motion animation, children’s books, and collectible toys. Often inspired by mythology, religion, cartoons, and make believe, his curious and absurd creatures exist in their own cosmic events, lurking on the fringes of fairy tale and folklore. Full shownotes: http://yourcreativepush.com/steveferrera In this episode, Steve discusses: -Where his inspiration for his creatures comes from. -His recent residency at the de Young Museum. -Having to deal with distractions while working on your art. -The idea of getting in the “zone” while sculpting. -The power of getting up early and getting to work as quickly as possible. -Some tricks that he does to keep himself focused during the entire day, like obsessing over the amount of time he has left in the day. -The idea of rewarding yourself after you’ve gotten work done. -The power in trusting your instincts. -His best and worst creative moments. -His advice for people who are considering transitioning from a full-time job to becoming a full-time artist. Steve's Final Push will inspire you to not wait for inspiration, but to just get to work and to keep filling your toolbox with new techniques! Quotes: “It’s hard to do something and then put it down and pick it up every ten, fifteen, twenty minutes. It really breaks the creative flow.” “I try to get up early and get into the studio as fast as I can and get to work.” “I have all these weird little things to mentally trick me into staying focused.” “You’ve just got to trust your instincts.” “Just do it and move on, because if you second guess, things can just drag on forever.” “Sometimes making mistakes is better than doing it right, because then you’ve experienced the other side where you don’t want to go.” “It’s almost like a game for me.” Connect with Steve: Website / Instagram / Tumblr / Twitter
Janet Delaney examines the social-documentary style of Roman Vishniac’s work, drawing from her experience photographing everyday life in San Francisco and other cities. Janet Delaney is a photographer and educator based in Berkeley, California. Delaney's projects have received numerous awards, most notably three National Endowment for the Arts Grants. Her work is in the collections of the San Francisco Museum of Modern Art, Pilara Foundation, the de Young Museum, San Francisco, and more. She published a book of her 1980s San Francisco images entitled South of Market with Mack Books of London in 2013. From January to June of 2015 her early work from South of Market was exhibited in a one-person exhibition at the de Young in San Francisco. Janet is now revisiting this district with camera in hand. This program was made possible by the Alan Templeton Endowment in Memory of Lieselotte and David Templeton.
Versailles is the new high-budget, 10-part BBC2 drama series which is already creating controversy ahead of its first broadcast. Boyd Hilton reviews the period costume drama set in the court of Louis XIV with its themes of sex, murder and conspiracy.The Victoria and Albert Museum in London is one of five museums and galleries in the UK to make the shortlist for Museum of the Year. In the first of our reports from the shortlisted venues, the Museum's director Martin Roth explains how to choose a record-breaking exhibition like the Alexander McQueen and why the V&A is planning to expand into the Olympic Park, Dundee and China. A Jewish Italian family ends up among Mussolini's most ardent supporters in Louisa Young's new novel Devotion, the latest in her series begun by the WWI novel My Dear I Wanted To Tell You and The Heroes' Welcome. She charts the political awakening of the next generation as another war looms, and tells Kirsty Lang why she found the Italian experience so compelling. The credits to the forthcoming TV drama series New Blood feature a raw Deep South bluesy soundtrack, a trick learned from some of the most talked-about series in recent years, from The Sopranos to Breaking Bad and True Detective. Ben Wardle considers the appeal of Americana music to today's TV directors. Presenter Kirsty Lang Producer Jerome Weatherald.
After closing its doors for three years, the de Young Museum reopened in a spectacular new building in October 2005. Since then, the museum, located in Golden Gate Park, has been host to more than 100,000 visitors a month. Spark pays a visit to the museum to find out what's new at the new de Young.
This morning we open with an interview with one of our favorite writers, Michael Warr, who with Luis Rodriquez will be speaking on Art as Healing in a free lecture at the Koret Audiotirum, de Young Museum in San Francisco, 3-4:30 p.m. Visit http://deyoung.famsf.org/deyoung/calendar/conversation-authors-luis-rodriguez-and-michael-warr Michael Warr is author of The Armageddon of Funk, We Are All The Black Boy, and co-editor of Power Lines: A Decade of Poetry From Chicago's Guild Complex, all from Tia Chucha Press. Valerie Cooper, vocalist/writer, who joins us next to talk about her sneak preview at the African Museum and Library, Oakland, Sept. 14, 2013, 7-9 p.m. Visit http://expressmoments.com We close with a conversation with three writers: The Hon. Claire Mack, former mayor of San Mateo, Rafael Jesus Gonzalez, poet, teacher, humanitarian, and Nadia Lataillade, writer, attorney, and Mrs. Mack's granddaughter. The topic is 100 Authors for Literacy, a free event, Sat., Sept. 21, 2013, at the Martin Luther King Center, 725 Mt. Diablo Ave., San Mateo, CA. http://northcentralneighborhoodassociation.org/100-authors-for-literacy-event.htmlSpecial guests include: Belva Davis and Dr. Joy DeGruy. Music: Michael Warr; Michael White; Meklit Hadero
Are you planning field trips to museums with students this year? Be sure to prepare students for proper museum etiquette by showing this fun, super-hero-style video about the most important museum rules. This video was produced by KQED in collaboration with BAVC's youth production project, The Factory, and the de Young Museum's teen ambassador program in San Francisco, CA.
Your YIP Crew brings you a super special interview with legendary dancer John Compton of Hahbi 'Ru! Music from Greg Ellis and Africa North (the place, not the person?) will be delighting your ear. Also we give out some aMAZing advice to some of our YIPpers (you're welcome) and lots of other cool stuff happens! You're gonna love it! Trust me!! YIP!!Download Episode 53Or Listen Here:On This Episode:The Tribal Way - "My New Years Resolution - To Smile!"Princess Farhana - "Flash Dance: What's Going On Under That Costume?"Belly Dance Troupe Talk (tribe.net) - "I need some advice please!!"FatChance BellyDance - Volume 9 DVD!!!Hot Pot Studios (home of UNMATA!!!)College Park Yoga - Crazy contortionist pose!!Rakkas - The Male Side of Belly Dance (Facebook)Keiya Mavita and Kali Shakti Sisters Belly Dance (Facebook)Baraka MundiOnca O'LearyAwalimGypsy HandsFlorida Tribal DanceShine On YogaAllure Dance StudioGreg EllisAzam AliJohn ComptonInterested in learning more? Check out some articles on John Compton at The Gilded Serpent and The Best of Habibi - fun extra reading...both cover some of the same territory, but both have great extra stuff, as well!)Articles on The Gilded Serpent by (or about) Rita/RebabaRebaba/Rita AlderucciJill ParkerJamila Salimpour - Bal Anat (Article on The Gilded Serpent)Bert Balladine (Gilded Serpent articles, including a memorial article with a ton of awesome pictures)Hahbi 'Ru at Tribal Fest 2010 - the Yemen "hand dance" starts at minute 3:00 (it's awesome!!)Selections from Manners and Customs of the Modern Egyptians - AmazonFarideh and John Compton (performing as Kos Kadas)Farideh (Cathryn Balk)Sharlyn Sawyerde Young MuseumSiroccoA bit of history about Finnoccio's - on the site Queer Music HeritageSlide show of Finnoccio's pictures from '78-'83 (I spotted John at least twice - at 2:36 and 3:30 and there are also several of the ventriloquist, Keny Stewart)Memories of performing at Finnoccio's - by female impersonator David de AlbaArticles on The Gilded Serpent by (or about) Mish Mish (a.k.a. Pamela Sklavos-Jaque)Scene from the movie "A Man With Bogart's Face" with Mish Mish(she's the dancer in blue)Steve Shehan & Baly OthmaneSetonaMahmoud FadlAround Town:January 21-28 (Pura Vida, Costa Rica) Sahara Dance presents the 7th Annual Tribal Belly Dance and Yoga Retreat with Rachel Brice.February 5-12 (Louisiana, Florida, Bahamas) ATS Belly Dance Cruise! Need I say more? Tribal:Pura, Studio classes, Gala show, and open dance sessions.February 23-26 (Decatur, GA) TribalCon - workshops with Ariellah, Dave Machek, Tamalyn Dallal, and more. Saturday Passes are now sold out!February 25-March 9 (Las Vegas, NV) Tribal Massive - workshops with Heather Stants, Zoe Jakes, Amy Sigil, and more.Featured Artists:Artist: Greg Ellis - Amazon or Album: Kala RupaSongs: Form 2, Form 3, Form 8Album: Africa North (Compilation) - Amazon or Song #1: "Amin Amin" by Steve Shehan & Baly OthmaneSong #2: "Rera" by SetonaSong #3: "Maqsoum" by Mahmoud FadlAdditional Music:Artist: Solace - Amazon or Album: The Gathering SeasonSongs: Huda, Harvest Moon, Eyes Like Cats, AenaemArtist: Greg Ellis - Amazon or Album: Kala RupaSongs: Form 7, Form 9
Get a rare glimpse of artist Andy Goldsworthy at work installing a piece at the de Young Museum. Original air date: June 2005.
This Web extra discusses how the art is arranged at the de Young Museum. Original release: March 2006.
Spark visits the de Young Museum when it re-opened its doors in 2005. And we meet artist Sharon Virtue. Original air date: March 2006.
By Wronsky: So Quick Bright Things; A Giant Claw (foreword) By Rosenthal: Coyote O'Donohughe's History of Texas By Partnoy: So Quick Bright Things (translator), A Giant Claw (translator) By Garcia: Other Countries By Gronk: A Giant Claw (All books published by What Books Press) A launch party for four new titles from What Books Press' fall list! Gail Wronsky, Chuck Rosenthal, Alicia Partnoy, Ramon Garcia, and Gronk will all read from and discuss their recent publications. Gail Wronsky is the author of Poems for Infidels (Red Hen Press); Dying for Beauty (Copper Canyon), a finalist for the Western Arts Federation Poetry Award; The Love-talkers (Hollyridge Press); Again the Gemini are in the Orchard (New Poets Series); and Dogland (Alderman Press, University of Virginia). Her translation of Alicia Partnoy's poems Volando Bajito has been published by Red Hen, and she is the coauthor with Molly Bendall of two books of "cowgirl" poetry: Calamity and Belle, A Cowgirl Correspondence and Dear Calamity, Love Belle. Blue Shadow Behind Everything Dazzling, a chapbook of poems about India where she lived for several months in 2006, has been published recently by Hollyridge Press. She is Director of Creative Writing and Syntext (Synthesizing Textualities) at Loyola Marymount University in Los Angeles. She lives in Topanga, California. Chuck Rosenthal was born in Erie, Pennsylvania and has lived in the western U.S. since 1979. He's the author of seven published novels and a memoir. The novels: Loop's Progress, Experiments with Life and Deaf, Loop's End (the Loop Trilogy), Elena of the Stars, Avatar Angel: The Last Novel of Jack Kerouac, My Mistress Humanity, and The Heart of Mars. The memoir: Never Let Me Go. His work has been nominated for The National Book Award, The PEN West Award for Fiction, the PEN International Award for Fiction, the Critics Book Circle Award for Fiction, the American Library Association Most Notable Book Award, and for Best American Creative Non-fiction. He is a three time winner of the Utah Arts Council Award for Fiction. Rosenthal recently lived for four months in the Himalayas of northeast India, the setting for his new book: Are We Not There Yet? Travels in Nepal, North India, and Bhutan. He lives in Topanga Canyon, California, where he owns a horse and rides daily. He teaches at Loyola Marymount University in Los Angeles. Alicia Partnoy is a survivor from the secret detention camps where about 30,000 people "disappeared" in her country, Argentina. She is best known as the author of The Little School. Tales of Disappearance and Survival. A poet, translator, and scholar, Alicia Partnoy has published the poetry collection Little Low Flying/Volando bajito, translated by Gail Wronsky and illustrated by Raquel Partnoy. Poems from her Revenge of the Apple/Venganza de la manzana rode the metro in New York, Dallas, and Washington D.C., and have been set to music by Sweet Honey in the Rock. Partnoy edited You Can't Drown the Fire: Latin American Women Writing in Exile, and from 2003 to 2006, she was the co-editor of Chicana/Latina Studies: the journal of Mujeres Activas en Letras y Cambio Social. Her work has been twice a Pushcart Foundation Writer's Choice Selection (Tobias Wolff and Bobbie Ann Mason). Partnoy served on the boards of directors of PEN, Roadwork, and Amnesty International U.S.A. She is an associate professor at Loyola Marymount University. Ramón García was born in Colima and grew up in Modesto, California. He has a B.A. in Spanish Literature from the University of California, Santa Cruz and a Master's and Ph.D. in Literature from the University of California, San Diego. He was awarded a National Endowment for the Arts residency fellowship from the MacDowell Colony and fellowships from the Virginia Center for the Creative Arts and the Ragdale Foundation. He is a recipient of a research grant from the National Endowment for the Humanities, and pre-doctoral fellowships from the Humanities Research Institute at the University of California, Irvine, and The Getty Center in Los Angeles. Ramón García is an associate professor in the Chicana/o Studies Department at the California State University at Northridge. He lives in downtown Los Angeles. Chicano painter, printmaker, and performance artist Gronk contributes the cover art for What Books Press. Known for his murals, Gronk also has created stage design for the Latino Theater Company, the East West Players, the LA Opera, and the Santa Fe Opera. He's also collaborated on music composed for the Kronos Quartet. He has exhibited at or curated work for many museums, include the UCLA Hammer, Los Angeles County Museum of Art, the Corcoran Gallery in Washington, D.C., the M.H. de Young Museum in San Francisco, the National Hispanic Cultural Center in Albuquerque, the San Francisco Mexican Museum, the M.H. de Young Memorial Museum in San Francisco, and the San Jose Museum of Art. He was given a career retrospective at the University of New Mexico, where he was in residence. He was a founding member of ASCO, a multimedia arts collective in the 1970s. Born in East Los Angeles, he now makes his home in downtown LA. THIS EVENT WAS RECORDED LIVE AT SKYLIGHT BOOKS OCTOBER 15, 2010.
Get a rare glimpse of artist Andy Goldsworthy at work installing a piece at the de Young Museum. Original air date: June 2005.
Art and Power opened this weekend at the de Young Museum in San Francisco. Curator, Constantine Petridis's exhibition looks at the linguistic and aesthetic and cultural linkages between the four distinct African civilizations stemming from Bantu origins: Luba, Songye, Chokwe, and Luluwa. In the exhibit featuring rare work from throughout the country and the world he proposes that the connection between art and spirit are often invisible, that there is no separation, that the power inherent in the nkisi or bearer of potions used to invoke or call the spirit into being to help or assist the community or person is more the rule rather than the exception. These 59 sculptures from the Central African Savanna show us images of the people who lived then, who centuries later, despite colonial enslavement, reflect us now in the dress, the perception of beauty and in the powerful spirit these art pieces, even robbed or emptied of their potions, still possess. Also joining us this morning is Muisi-kongo Malonga, Artistic Director of Fua Dia Congo, which has a new work premiering the final week, June 27-28 at the Ethnic Dance Festival at the Palace of Fine Arts in San Francisco. The dance which comes from Central Africa, the place where Dr.Petridis did field study for six months, and where many of these pieces originate, is in the news a lot for its decades long battle with international exploitation, bloodshed, rape as a weapon of war, and displacement of people trying to escape the terror. Kongo-Kintourari links, Muisi-kongo says, the ancient spelling of Kongo and the word kintouri, a Kikongo word meaning "unity." The dance is a symbolic call for unity in the region. Whether it is Muisi-kongo's work with the all women dance company she founded, Diata Diata, "KOngo Odysssey," at the company's 25th Anniversary Concert, or the annual Congolese Drum and Dance Camp in July, she always includes this element--unity, unity between Africans and African Americans, unity betwee
Gregory Gavin is a visual artist with a social cause. His site specific project called "Riveropolis," was born out of his interest in bringing inner-city people together in a man-made environment reminiscent of nature. Spark visits Gavin and "Riveropolis" while in progress at the de Young Museum. Original air date: May 2006.
Please visit our blog at www.artagogo.com/blog for full show notes and links that we discuss during the show. Podcast #30 - We have the pleasure of interviewing Dr. Daniell Cornell, Curator of American Art and Director of Contemporary Art at the de Young Museum in San Francisco. Dr. Cornell is the curator of "Chicano Encounters: Local Places and Global Communities" one of the three exhibitions that make up "Chicano" which is currently on view at the de Young Museum through October 22, 2006. "Chicano Visions: American Painters on the Verge" features a variety of Chicano artists. This portion of the exhibition is curated by Rene Yanez and features works from the collection of actor and comedian Cheech Marin. Tags: art, arts, art a gogo, artist, art news, art reviews, interview, museum, gallery, exhibit, exhibition, podcast, podcasting, entertainment, boing boing, cheech marin, chicano, chicano visions, chicano now, chicano encounters, de young museum, naco nocturnes, armando rascon, culture clash, guillermo gomez-pena, George Lopez, lourdes portillo, paul rodgriguez, robert rodriguez, gustavo vazquez, ester hernandez, carmen lomas garza, carlos almaraz, frank romero, gronk, patssi valdez, george yepez, rupert garcia, leo limon, margaret garcia, eloy torrez, daniell cornell
I've found some buildings that look better in reality than in rendering -- and they are all designed by one firm. The firm is Herzog & de Meuron, the Swiss architects, whose de Young Museum in San Francisco opened recently. What struck me about their work, as it relates to a discussion of architectural rendering is that many of their buildings look, well, dull in renderings -- and they even look dull in models. But consistenly, Herzog & de Meuron's built work is better than the renderings. That is rare in contemporary architecture, especially in architecture where the renderings seem to rely more and more on computer tricks and lighting for dramatic effect. It was the architect Adolf Loos who, in 1908, set us on a difficult and publicly unpopular course through the 20th century, declaring Ornament a Crime -- and it was interpreted by Modernists to include any ornament, and anyone who chooses to decorate their designs was suspect for most of the 20th century, but now, perhaps the tide is turning? Herzog and de Meuron are breaking this century-long trend and in many buildings celebrate ornament. Is this their secret to rendering reality? Photograph is a backlit panel of the perforated copper screens at the de Young Museum in San Francisco. Other Herzog & de Meuron buildings to look up: the Ricola Production and Storage Building; the Library of Eberswald University; the Tate Modern; the Dominus Winery. For more information about the new de Young Museum, visit www.thinker.org. And for some designs for which I am guilty, visit www.tedwells.com.
Almost live from the new de Young Museum in San Francisco, CA. Please visit our blog at www.artagogo.com/blog for full show notes and links that we discuss during the show. Thanks for listening! Kathleen & Doug / art, arts, artist, museum, entertainment, news
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