Bad at Sports

Bad At Sports is a weekly podcast about contemporary art. Founded in 2005, the series focuses on presenting the practices of artists, curators, critics, dealers, various other arts professionals through an online audio format.

Rank #1: Bad at Sports Episode 577: Kerry James Marshall WLPN B@SC Radio Edit.
Here in our second episode of the Bad at Sports Center show we make a fan favorate episode radio friendly... Welcome back Kerry James Marshall!

Rank #2: Bad at Sports Episode 477: Rirkrit Tiravanija.
This week: We talk to artist Rirkrit Tiravanija

The Modern Art Notes Podcast

The Modern Art Notes Podcast is a weekly, hour-long interview program featuring artists, historians, authors, curators and conservators. Pulitzer Prize-winning art critic Sebastian Smee called The MAN Podcast “one of the great archives of the art of our time.” When the US chapter of the International Association of Art Critics gave host Tyler Green one of its inaugural awards for criticism in 2014, it included a special citation for The MAN Podcast.

Rank #1: Joan Miró, Pop América.
Episode No. 384 features curators Anne Umland and Esther Gabara. The Museum of Modern Art, New York is presenting "Joan Miró: Birth of the World." While most of the exhibition comes from MoMA's excellent Miró collection, it is augmented by several key loans, including the early The Table (Still Life with Rabbit) (1920-21). Umland curated the presentation with assistance from Laura Braverman. It is on view through June 15. On the second segment, Duke University professor Esther Gabara discusses her exhibition "Pop América, 1965-75," which is on view at the Nasher Museum of Art at Duke University through July 21. The exhibition examines how Latin American and Latinx artists engaged with pop art  alongside their American and European peers. The exhibition is accompanied by a terrific catalogue published by the Nasher and distributed by Duke University Press. Amazon offers it for $29.

Rank #2: Sheila Hicks.
Episode No. 396 features artist Sheila Hicks. The Nasher Sculpture Center in Dallas is presenting "Sheila Hicks: Seize, Weave Space," an exhibition that presents often site-engaged work both inside the Nasher and in its garden. The exhibition, which was curated by Leigh Arnold, is on view through August 18. The Bass Museum of Art in Miami Beach, Fla. is concurrently presenting "Sheila Hicks: Campo Abierto (Open Field)." It was curated by Frederic Bonnet and is on view through September 29. Hicks, who has made fiber the foundation of her practice for 60 years, is one of the world's most celebrated artists. Last year in Paris, where Hicks lives, the Centre Pompidou, presented a retrospective of Hicks's career. Her last American retrospective was in 2010, an exhibition that originated at the Addison Gallery of American Art before traveling to the Institute of Contemporary Art, Philadelphia and the Mint Museum in Charlotte. (The catalogue for the Pompidou show is excellent; Amazon offers it for $31.) The program was taped before a live audience at the Nasher.

Art Movements

A weekly collection of news, developments, and stirrings in the art world with host Hrag Vartanian, cofounder and editor-in-chief of Hyperallergic.

Rank #1: Women of Abstract Expressionism.
Why were women excluded from the art movement that has come to represent some of the best of 20th century American art? The answer may be rather complicated and Hyperallergic’s editor-in-chief Hrag Vartanian interviews “Women Of Abstract Expressionism” exhibition curator Gwen Chanzit, Abstract Expressionism artist Judith Godwin, feminist art historian Linda Nochlin, and critic/curator Karen Wilkin to understand the issue.

Rank #2: Who Was Artist David Wojnarowicz?.
Last month, a dozen activists gathered at the Whitney Museum of Art to condemn the institution's lack of modern context about the HIV/AIDS epidemic in relation to Wojnarowicz's artwork. Their action was noticed by the art world and the museum, which is continuing to talk to the protesters after changing some of the labels to reflect on the fact that the AIDS crisis is not over. In this episode we talk to Wojnarowicz biographer Cynthia Carr, author of Fire in the Belly: The Life and Times of David Wojnarowicz, who helps narrate the complicated story of an artist who has become one of the luminaries of New York's East Village scene in the 1980s. I also invited two artists, Jean Foos and Frank Holliday, who knew Wojnarowicz during his lifetime, to help paint a picture of a scene that burned bright, but was eventually snuffed out by a commercial art world obsessed with novelty, and the looming disaster that was AIDS. A special thanks to Twig Twig for the music to this week's episode. You can listen to that and more at twigtwig.bandcamp.com and other streaming services.

The Conversation Art Podcast

A podcast featuring both one-on-one and three-way roundtable conversations with contemporary artists, dealers, curators, and collectors--based in Los Angeles, but reaching nationally and internationally.

Rank #1: Ep. # 203: MRS. - the rise of a young gallery in Queens, NYC, with Sara Maria Salamone and Tyler Lafreniere.
Co-owners Sara Maria Salamone and Tyler Lafreniere of MRS. Gallery in Queens, New York, talk about: The origin behind MRS.’s concise and memorable name; what it’s been like running their gallery in the relatively off-the-beaten-path neighborhood of Maspeth,Queens, and how they get consistent traffic despite their location; their rising success at the start of their 2nd season with Genesis Belanger’s show; their slower-paced five shows per season schedule, which is both more manageable and potentially a model that other galleries are considering using as well; sales, and all the things that go into maintaining and growing them as a small, young gallery; why Sara loves art fairs (and Tyler enjoys them as well) and how important they are at this stage for the gallery’s business, since despite being in NYC, their Maspeth location limits turnout, which they make up for at the fairs (they’re doing NADA Miami this Dec.); the importance of social media, specifically Instagram, for their acquiring new collectors, several of whom are buying works virtually, unseen in person; and Sara’s level of connectivity (as the gallery “mama bear”), and to what extent she feels it’s healthy vs. necessary.

Rank #2: Epis.#255: Laura Krifka-- painter and professor--.
Painter and Cal Poly San Luis Obispo professor Laura Krifka talks about: How her work is at its core about seduction, built through scenarios of being seduced, and how she constructs each painting to both seduce, and, by revealing subtle (metaphorical) cracks in the foundation, she also plays with repulsion; the frank reactions she’s received from more non-Art World audiences about being a ‘weird lady’ for the things she paints; her process of working with models, whom she really enjoys collaborating with and often become friends, and the ‘violence’ that she feels she brings to their painted visages… she feels more comfortable using herself as a model for the more distorted and/or vulnerable characters; how she meets the tremendous adulation she’s been receiving for her fall 2019 show in Los Angeles with the steadfast belief that it won’t last…she always leaves the house expecting some sort of disaster (and yet on the flip side, she’s very grateful for everything she has--including a tenure-track professorship); how she’s always planned on having a side hustle, and still plans to even if her work completely blows up (let’s hold her to that).

The Lonely Palette

Welcome to The Lonely Palette, the podcast that returns art history to the masses, one painting at a time. Each episode, host Tamar Avishai picks a painting du jour, interviews unsuspecting museum visitors in front of it, and then dives deeply into the object, the movement, the social context, and anything and everything else that will make it as neat to you as it is to her. For more information, visit thelonelypalette.com | Twitter @lonelypalette | Instagram @thelonelypalette.

Rank #1: Ep. 24 - Meditations on Mark Rothko.
Whether you think Mark Rothko is the portal to spiritual transcendence or emotional-ambulance-chasing bunk, let's take the necessary time to explore his work without feeling like our souls are at stake.See the images:http://www.thelonelypalette.com/episodes/2017/11/20/episode-24-meditations-on-mark-rothkoMusic used:The Andrews Sisters, "Bei Mir Bist Du Schoen"The Blue Dot Sessions, "A Simple Blur", "Thematic", "Cases to Rest", "Plate Grayscale", "Drone Thistle," "Sage the Hunter"Dar Williams, "Mark Rothko Song"Joe Dassin, “Les Champs-Elysees"Support the show!www.patreon.com/lonelypalette. Our Year-End Listener Challenge is ON. Become a patr(e)on by December 15th and yours truly will produce an episode on "Dogs Playing Poker" because of course.

Rank #2: Ep. 40 - Frida Kahlo's "Dos Mujeres (Salvadora y Herminia)" (1928).
In which we go beneath the flowers, the unibrow, the broken body, and the shadow of her marriage, to reframe the fame of Frida Kahlo: the Cult Icon of Humanness.See the images:http://www.thelonelypalette.com/episodes/2019/7/14/episode-40-frida-kahlos-dos-mujeresMusic used:Django Reinhardt, “Django’s Tiger”The Andrews Sisters, "Bei Mir Bist Du Schoen"The Blue Dot Sessions, “Jat Poure,” “Li Fonte,” “Clouds at the Gap,” “Master,” “When the Guests Have Left,” “Curiously and Curiously,” “Thread Ceylon,” “Gondola Blue”Tinpan Orange, “Song for Frida Kahlo”Support the show:www.patreon.com/lonelypaletteEpisode sponsors:www.thegreatcourses.com/lonely www.visualartspassage.com/palette

Art Talk

Art reviews from art critics Edward Goldman and Hunter Drohojowska-Philp.

Rank #1: Celebrating the Anniversaries of Bauhaus and Rembrandt.
One of the most influential art schools of the last century – Bauhaus – was founded 100 years ago in Weimar, Germany. The Getty Research Institute marks this 100 th anniversary with a new exhibition, Bauhaus Beginnings, which pulls from its archives prints, drawings, photographs, and other material. In spite of the devastation of WWI from 1914-1918, the following year, in 1919, a group of avant-garde European artists developed a bold vision of a school of design and a model of education that would bridge the fine and applied arts. Installation shot: Bauhaus Beginnings. Getty Research Institute. Photo by Edward Goldman. The Getty’s exhibition emphasizes the contributions made by Bauhaus founder German artist Walter Gropius (1883-1969), Hungarian artist László Moholy-Nagy (1895- 1946), Russian artist Vassily Kandinsky (1866-1944), and Swiss artist Paul Klee (1879- 1940), just to mention a few of the teachers. The overall design of the exhibition, with particularly elegant floating geometric display cabinets, has an echo of the Bauhaus aesthetic. Installation shot: Bauhaus Beginnings. Getty Research Institute. Studies for Vassily Kandinsky’s Farbenlehre (Course on color), 1929-1930. Colored paper and gouache on paper. Erich Mrozek. Photo by Edward Goldman. One quote from the exhibition by Kandinsky emphasizes the spiritual and emotional significance of art: “Every work of art is the child of its age and, in many cases, the mother of our emotions.” Installation shots: Bauhaus Beginnings. Getty Research Institute.  L: Selection from the portfolio Das Wielandslied der älteren Edda (The Wieland song of the elder Edda), 1923. Woodcut. Gerhard Marcks. R: Figure Study, 1929-1931. Watercolor, graphite, and ink on paper. Erich Mrozek. Photos by Edward Goldman. Here, in Southern California, two major American art schools – CalArts and ArtCenter College of Design – are philosophical descendants of Bauhaus, uniting the practices of architecture and design alongside the fine arts. L: Rembrandt Laughing, about 1628. Oil on copper, 8 ¾ in. x 6 ¾ in. (22.2 x 17.1 cm). The J. Paul Getty Museum, Los Angeles, 2013.60. R: Self-Portrait (detail), about 1636–38. Oil on panel, 24 7/8 x 19 7/8 in. (63.2 x 50.5 cm). The Norton Simon Foundation, Pasadena, F.1969.18.P. Images courtesy Rembrandt in Southern California. Another anniversary – 350 years since the death of Rembrandt – is honored by 5 Southern California museums with a virtual exhibition of 14 of his paintings held by The Getty, LACMA, Norton Simon Museum, The Hammer, and Timken Museum of Art. Just imagine the pleasure of paying homage to Rembrandt with a short trip from The Getty to Norton Simon to see his self-portraits when he was only 22 and then 30 years old. The Abduction of Europa, 1632. Oil on panel, 25 7/16 x 31 in. (64.6 x 78.7 cm). The J. Paul Getty Museum, Los Angeles, 95.PB.7. Image courtesy Rembrandt in Southern California. One of his earlier paintings held by The Getty, The Rape of Europa, shows the Greek god Zeus, in the form of a bull, abducting Europa, whose face has a striking resemblance to Rembrandt’s wife, Saskia. L: Portrait of Marten Looten, 1632. Oil on panel, 36 1/2 x 30 in. (92.71 x 76.2 cm). Los Angeles County Museum of Art. Gift of J. Paul Getty, 53.50.3. Photo © Museum Associates/LACMA. R: Saint Bartholomew, 1661. Oil on canvas, 34 1/8 x 29 3/4 in. (86.7 x 75.6 cm). The J. Paul Getty Museum, Los Angeles, 71.PA.15. Images courtesy Rembrandt in Southern California. During his lifetime, Rembrandt experienced and enjoyed not only fame and fortune, but also having been ignored and forgotten. His early style, with careful brushstrokes and complimentary portrayal of well-to-do clients, reflected the taste of wealthy Dutch merchants. But, toward the end of his career, his art dramatically changed. The smooth surface of his early paintings transformed into wild, distinct brushwork. His cool palette became much more muddy and earthy. And, complimentary presentation gave way to a deeper, psychological exploration of character. Rembrandt paid a dear price for these profound changes in his art. He was no longer considered a desirable artist for commissions, and so he sank into poverty, lost his house, moved into the poorest neighborhood in Amsterdam, and was buried in an unmarked grave. 350 years later, he is celebrated as one of the greatest artists of all time. Wouldn’t it be remarkable if all five Southern California museums worked together to pay homage to Rembrandt not only through a virtual exhibition, but by exhibiting all 14 paintings in one real exhibition? Of course, the logistics of such an exhibition would be overwhelming. But, the magic of Rembrandt’s art is worth it…

Rank #2: A Tale of Two Museums: MOCA and LACMA.
This is a tale of two museums, The Museum of Contemporary Art and the L.A. County Museum of Art. I’ll admit it. I am a booster for L.A. art. When I moved here in 1979, I started writing about it because I realized that the quality and originality was very little understood or even recognized outside Southern California. Certainly not in New York or Europe. There was no Museum of Contemporary Art. L.A.’s first free-standing art museum, the Los Angeles County Museum of Art had opened in 1966. Being a general rather than a contemporary museum, it could not, at times would not, dedicate its programs solely to post-war art or art being made here. As a result, a truly dedicated group of local art collectors came together to make MOCA a reality in 1979. What is now the Geffen opened with The First Show in 1983 and proved that those collectors who genuinely did not want to give their art to a New York museum had made stunningly generous donations. They also hammered out the deal to erect the MOCA building on Grand Avenue in 1986. Guests at Chris Burden’s Exposing the Foundation of the Museum, 1986/2019, site-specific excavation. Courtesy of the Chris Burden Estate. Four tumultuous decades later, that history is being celebrated with MOCA's sixth director, Klaus Biesenbach. On the job seven months, he was able to announce a $10 million dollar gift by MOCA president Carolyn Powers to help fund free admission. A benefit dinner last Saturday was underwritten by Marina Kellen French so that some 300 artists and others could attend gratis. The exhibition titled The Foundation of the Museum: MOCA's Collection is a snapshot of the staggering commitment of past directors and curators to building one of best contemporary collections in the country. So Biesenbach is off to a running start. The night of the benefit, he spoke to the crowd about being of service, about art as a force within society, about being a family. Given the spin cycle of directors, curators and board members at MOCA in the last decade, he has a lot of ruffled feathers to smooth. He seems remarkably willing to perform that uneviable task. A collective sigh of relief seemed to permeate the evening, which was attended by past directors and curators in a gesture of reconciliation. Daytime view of north stairs facing east, Atelier Peter Zumthor & Partner. Photo courtesy of LACMA. All of which brings me to LACMA and its director Michael Govan, who has completely transformed a moribund museum into one of the most popular places in the city. Under his direction, the museum installed the one of the most selfied works of public art, the grove of vintage lights by one of the city’s most revered artists, the late Chris Burden. At this point, I could go on and on about their excellent recent exhibitions with an unprecedented focus on contemporary art, including Robert Rauschenberg’s previously unseen opus 1/4 Mile, closing June 9. Michael Govan. Photo courtesy of LACMA. Prior to Govan’s 2006 hire, Renzo Piano, an esteemed architect of museums, was on board to complete what is now the Broad Museum of Contemporary Art and the Resnick Pavilion. Even at that time, it was clear that it was not going to be cost effective or aesthetically desireable to renovate the 1966 LACMA buildings, a William Pereira design that had proved problematic and unwieldy. Curators, historians and artists have have been complaining about it since the day it opened. The 1986 attempt to disguise it with a giant facade and courtyard by Hardy Holzman Pfeiffer didn’t help. Interior view of a central gallery, Atelier Peter Zumthor & Partner/The Boundary. Photo courtesy of LACMA. Govan could have let Piano continue building, which also entailed tearing down the old museum. He chose the more difficult path. From the outset, he wanted the Swiss architect Peter Zumthor and that decision has been controversial ever since. He set the bar higher with a fundraising goal of more than $600 million. Now that he is nearing that goal and new models of Zumthor’s design are on view, there is a belated bellow of complaint about its curvilinear design, the amount of glass, the bridge over Wilshire, the concrete exhibition walls. Suddenly, people love the existing LACMA that they have been bad-mouthing since the day it opened. Every daring museum design has faced similar fights. Without single-minded, stubborn directors, there wouldn’t be Frank Gehry’s Guggenheim in Bilbao (or even the Frank Lloyd Wright Guggenheim in New York). This is not to say that there can’t be questions about the design or that there can’t be improvements. But at this point, given a stellar track record as a museum director on so many levels, Govan should be allowed to finish the job he was hired to do. Interior gallery, Atelier Peter Zumthor & Partner/The Boundary. Photo courtesy of LACMA. Same for Biesenbach at MOCA. Give the guy a chance. Sometimes a museum needs a leader with singular focus, like Govan. Sometimes, it needs someone who can unify and motivate demoralized staff and supporters. One hopes that will be Biesenbach. In this time of nationwide fury and schisms and internet-fueled psycho babble, I’d like to see a return to sort of civic minded perspective and loyalty to L.A. that enabled these museums to be built in the first place.

Artsy

Artsy's team of editors takes you behind the scenes of the art world, talking everything from art history to the latest market news.

Rank #1: No. 25: Making It in the Art World If You’re Not a Rich Kid.
This week, we’re rebroadcasting a favorite episode from earlier this year.As the New York Times recently reported, twenty-somethings pursuing a career in art and design are the most likely to receive financial assistance from parents; they also receive the largest sums.On this episode, we’re joined by Sandra Jackson-Dumont, chair of education at the Metropolitan Museum of Art, and Naiomy Guerrero, creator of GalleryGirl.nyc, to discuss the role money plays in art world careers.How does the plethora of unpaid internships and low-paying jobs limit inclusivity? And what steps can we take to change the system?

Rank #2: No. 36: When Basquiat Is More Expensive Than Warhol.
Last Thursday, a 1982 painting by Jean-Michel Basquiat sold for a formidable $110.4 million at Sotheby’s.It set a record for the New York artist, who both joined the exclusive “$100 million-plus club” and displaced Andy Warhol as the most expensive American artist at auction in one fell swoop.This week, we break down the sale—both what it means for Basquiat’s market going forward and whether it changes his place in the art-historical canon.

Artelligence Podcast

The Artelligence Podcast unpacks the mysteries of the global art market through interviews with collectors, dealers, auction house specialists, lawyers, art advisors and the myriad individuals who make the art market a beguiling mixture of sublime beauty and commercial acumen.

Rank #1: Hrag Vartanian of Hyperallergic, James Tarmy of Bloomberg and Brian Boucher of Artnet.
Hrag Vartanian of Hyperallergic describes his trip to LA for a series of art fairs including the LA Art Book Fair and ArtLA Contemporary; James Tarmy of Bloomberg and Brian Boucher from Artnet News talk about the New York Old Master sales.

Rank #2: Christie's Education Panel: Selling Art in the Digital Age.
Vivian Brodie, Christie's Head of Mid-Season and Online sales; Elena Soboleva, Director of Online Sales, David Zwirner; and Sam Orlofsky, Director, Gagosian discuss their experiences extending sales from their globally branded enterprises into the digital domain. Among the topics we cover in this panel discussion is the different ways that Christie's, Zwirner and Gagosian have come to selling digitally; how the sales process is integrated into the larger pattern of client acquisition and sales; who benefits internally from digital sales and how the companies are charting a path forward.

State of the Arts

A podcast that explores how art and its history shape our world today

Rank #1: Claude Monet and the "Birth" of Impressionism.
In August, The Art Newspaper reported that Donald Olson, an astrophysicist at Texas State University, had pinpointed the exact moment that Monet painted his work Impression: Sunrise to 13 November 1872. The report described this moment as the "birth of Impressionism." In today's episode, we discuss the painting and unravel some of the problems of this claim.

Rank #2: Art Theft and the Isabella Stewart Gardner Museum.
On March 18, 1990, two thieves entered the Isabella Stewart Gardner Museum in Boston and stole 13 objects from the museum's collection. This incident, which has remained largely unsolved, has drawn attention to the problem of art theft in the contemporary world. In today's episode, we discuss the heist, some of theories regarding who was involved, and the issue of art theft more broadly.

ArtTactic

The ArtTactic Podcast, the leading podcast on the art market, covers a wide range of topics from art investment to general topics about the global art market industry. Each episode features an in-depth interview with a key art market figure.

Rank #1: Art advisor Maria Brito on the contemporary art market.
In this week's episode of the ArtTactic Podcast, we're joined by Maria Brito, a New York based art advisor, curator and author. First, Marias offers advice to both new collectors who are building their collections as well as established collections seeking to refine their collections. Then, she comments on the strength of the art market at the moment and identifies which areas in particular are flourishing. Also, Maria names some emerging artists she feels are flying under the radar. Additionally, Maria discusses how she leverages Instagram to build her art advisory and make new contacts. Lastly, she tells us about her new #MBCultureFiles video series.

Rank #2: The Wharton School's Jerry Wind on Sotheby's Going Private.
In this week's episode, we're joined by professor Jerry Wind, the Lauder Professor Emeritus and Professor of Marketing at The Wharton School of the University of Pennsylvania and co-author of Can Art Aid in Resolving Conflicts. First, we discuss the recent news of Sotheby's being purchased and transforming from a publicly traded auction house to a privately owned business. Jerry explains some of the ways being a public company may have been prohibitive for Sotheby's. Also, he shares how he envisions their business evolving. Further, Jerry tells us how Sotheby's and its rival Christie's may compete against each other now that both are private firms. Then, we discuss Jerry's new book, Can Art Aid in Resolving Conflicts and he identifies some of the most notable examples of when art played a role in resolving conflicts or building bridges among opposing groups.

Deep Color

DEEP COLOR is an oral history project and podcast that features long-form conversations with artists and art professionals as they discuss their work, ideas and lives--offering listeners a unique understanding about the process, experiences and people behind the artwork. DEEP COLOR is independently produced by Joseph Hart.

Rank #1: Eddie Martinez - Episode 4.
Eddie Martinez makes large-scale oil paintings that are full of movement, curiosity and joyful color. Eddie discusses his early days as a Boston-area graffiti enthusiast, self-producing his first gallery show in New York City, art as obsession and therapy, and much more...

Rank #2: Katherine Bradford - Episode 13.
Katherine Bradford makes paintings that often feature groups of people congregating around an impressive element, such as a massive bonfire, or scenes of swimmers floating and wading in water. Katherine talks about entering the atmosphere of her work, an urge to distance herself from old master oil painters, making epic versus intimate statements, and loving the overall intensity of being an artist.    

Frieze

Conversations and debates with leading figures from contemporary art, design, music, literature, activism and technology – taking place daily at Frieze Fairs and beyond.

Rank #1: Fred Moten in conversation with Sondra Perry.
Professor Fred Moten (Department of Performance Studies, NYU) in conversation with artist Sondra Perry

Rank #2: Simone Leigh and Saidiya Hartman in conversation.
Simone Leigh (writer and scholar) in conversation with artist Saidiya Hartman.

The Jealous Curator : ART FOR YOUR EAR

ART FOR YOUR EAR brings you stories from some of my favorite contemporary artists. When I studied Art History, the best part was, well, the gossip. I loved finding out why artists did certain things, what was going on in their personal lives, and behind-the-scenes details about other artists they knew and worked with. This podcast is exactly that ... inside-scoop stories from the artsiest people I know. You'll hear first-hand from these talented, successful, full-time artists (who also happen to be regular people with hilarious stories) BEFORE they’re in the Art History books. - Danielle (aka The Jealous Curator)

Rank #1: LISA CONGDON : imposters, egos, inner critics ... LIVE in portland.
Seventy-seven episodes in, today is something brand new ... this was recorded at an event in Portland last week! Lisa Congdon and I hanging out at Hand-Eye Supply with a live audience. We talked imposter syndrome, ego, inner critics, and well, ART.

Rank #2: ASHLEY LONGSHORE : an artrepreneur's fempire.
Brace yourself because you're in for a hilarious, inspiring, glittery, curse-filled adventure! New Orleans based artist and artrepreneur, Ashley Longshore is my guest today.

National Gallery of Art | Audio

This audio series offers entertaining, informative discussions about the arts and events at the National Gallery of Art. These podcasts give access to special Gallery talks by well-known artists, authors, curators, and historians. Included in this podcast listing are established series: The Diamonstein-Spielvogel Lecture Series, The Sydney J. Freedberg Lecture in Italian Art, Elson Lecture Series, A. W. Mellon Lectures in the Fine Arts, Conversationricans with Artists Series, Conversations with Collectors Series, and Wyeth Lectures in Ame Art Series. Download the programs, then visit us on the National Mall or at www.nga.gov, where you can explore many of the works of art mentioned. New podcasts are released every Tuesday.

Rank #1: The East Building at Forty: Reflections from Curators Past and Present.
Panelists include E. A. Carmean Jr., a canon in the Episcopal Church and former curator and head of 20th-century art, National Gallery of Art (1974–1984); Jack Cowart, founding executive director, Roy Lichtenstein Foundation, and former curator and head of 20th-century art, National Gallery of Art (1984–1993); Mark Rosenthal, independent curator, former head of modern and contemporary art, Philadelphia Museum of Art, and former curator and head of 20th-century art, National Gallery of Art (1993–1997); Marla Prather, former curator of modern and contemporary art, Metropolitan Museum of Art, and former curator and head of 20th-century art, National Gallery of Art (1996–1999); and Jeffrey Weiss, former senior curator, Solomon R. Guggenheim Museum, New York, and former curator and head of modern and contemporary art, National Gallery of Art (1999–2007). The National Gallery of Art was conceived and given to the people of the United States by Andrew W. Mellon (1855–1937). In 1936 Mellon wrote to President Franklin D. Roosevelt offering to donate his art collection for a new museum and his own funds to construct a building for its use. With the president’s support, Congress accepted Mellon’s gift and established the Gallery in March 1937. Andrew Mellon had anticipated that the collections would grow beyond the capacity of the original building, and at his request, Congress had set aside an adjacent plot of land for future use. In 1967 Andrew Mellon’s children, Paul Mellon and Ailsa Mellon Bruce, offered funds for a second building, and architect I. M. Pei (b. 1917) was selected to design it. Construction of the East Building began in 1971, and artists such as Henry Moore and Alexander Calder were commissioned to create works for the space. On June 1, 1978, Paul Mellon and President Jimmy Carter dedicated the new museum to the people of the United States. To celebrate the East Building’s 40th anniversary on June 1, 2018, the Gallery’s current and former head curators of 20th-century art gathered to reflect upon their experiences acquiring art and planning special exhibitions.

Rank #2: Tintoretto Lecture Series, Part 1—Tintoretto in Context: Framing Tintoretto: Sixteenth-Century Venetian Painting.
Eric Denker, senior lecturer and manager of gallery talks and lectures for adults, National Gallery of Art On the occasion of the exhibition of Tintoretto: Artist of Renaissance Venice, Eric Denker, senior lecturer at the National Gallery of Art, presents a four-part lecture series examining Jacopo Tintoretto’s work in the context of 16th-century Venetian art, history, and culture. In the first lecture, “Tintoretto in Context: Framing Tintoretto: Sixteenth-Century Venetian Painting,” held on April 16, 2019, Denker discusses Venetian Renaissance painting beginning with Giovanni Bellini, his workshop, and his followers, in the second half of the 15th century. Giorgione and Titian were among his most prominent pupils, developing out of Bellini’s linear style the more atmospheric color, light, and shadow characteristic of Venetian High Renaissance oil painting. Though Titian would dominate the painting of large-scale altarpieces and decorations in Venice during the first half of the 16th century, rivals influenced by contemporary central Italian art appeared in Venice by the 1520s and ’30s. Artists including Pordenone and Andrea Schiavone provided alternative sources of style and imagery for both painters and patrons.

Explain Me

Politics, art, and a general disappointment with how things are going.

Rank #1: What Curators Really Think: A Cringe Worthy Report.
On this episode of Explain Me we discuss a disastrous curator conference at SVA titled "Curatorial Activism and the Politics of Shock", the Miami art fairs, and three shows— "Talon Rouge: Six Mexican Artists Revisit José Juan Tablada and His New York Circle" at PROXYCO, "Johnny Abrahams: Threnody" at The Hole and "Molly Zuckerman-Hartung: Learning Artist" and "Maryam Hoseini Of Strangers and Parrots" at Rachel Uffner. 

Rank #2: Gentrification, Income Inequality and Donald Trump Baby Turds.
In this episode of Explain Me William Powhida and Paddy Johnson talk about the 450 million dollar Leonardo Da Vinci of disputed authenticity and the Boyle Heights activists who follow artist Laura Owen's from L.A. to New York to protest her non-profit 365 Mission while she visited The Whitney. Activists believe the presence of her gallery will lead to displacement. Additionally, we discuss the following exhibitions:  Tiger Strikes Asteroid: Didier William, "We Will Win" The Museum of Human Achievement (in Austin TX) Five Miles: Nicholas Cueva, "The People Games Play" Trestle Projects: Tracing Trajectories/Selections from the Hoggard/Wagner Collection  Microscope Gallery: Anita Thacher, “Anteroom” Signal Gallery: Rachel Rossin, "Peak Performance" Present Company: Myeongsoo Kim and Jessie Rose Vala, "Dusk to Dust"  Denny Gallery: Future Retrieval, Permenant Spectacle Derek Eller Gallery: Whiting Tennis