Explore " objects" with insightful episodes like "Cursed Objects", "Space Wolves", "Phyllida Barlow on Bethan Huws", "Season Two Coming Soon" and "Season Two Coming Soon" from podcasts like ""The Alex and Dom Show", "Midnight Slumber", "the Roberts Institute of Art", "Stuff The British Stole" and "Stuff The British Stole"" and more!
A spaceship has a hiccup, causing the people aboard to be lost in space. When a passing object brings a form of terror unexpected. Sit back, relax, enjoy this short story, and thanks for listening!
Written and Narrated by Zack Miller. Follow us on Twitter @The_MNS_Podcast, Instagram @midnight_slumber_podcast, our YouTube Channel - Midnight Slumber, and Facebook – Midnight Slumber.
This story was written and narrated by Zack Miller.
Follow us on X @The_MNS_Podcast, Instagram @midnight_slumber_podcast, our YouTube Channel - Midnight Slumber, and Facebook – Midnight Slumber.
We invited Phyllida Barlow, whose work is featured in the David and Indrė Roberts Collection, to choose a piece from the collection as the starting point for a conversation about influences and objects of interest. She chose Bethan Huws’ Untitled, 2002.
Untitled is from Huws' Word Vitrine series and is a text-based work of sculptural form, using standard office word vitrines made from aluminium, glass, rubber and plastic letters. First created in 1999, her Word Vitrines reference Marcel Duchamp's ready-mades, though they alter this concept with the addition of an evocative text.
Barlow discusses that what drew her to Huws' work is the sentience she imbues in her sculptures. She joins Ned McConnell from her London home for a conversation about memory, the ‘performativity’ of sculpture and the difference between someone and something.
British artist Phyllida Barlow takes inspiration from her surroundings to create imposing installations that can be at once menacing and playful. Creating anti-monumental sculptures, she uses inexpensive, low-grade materials such as cardboard, fabric, plywood, polystyrene, scrim and cement. Her constructions are often testing the limits of a space whether through height, mass or volume and balance engage the audience by blocking straddling or precariously balancing in the space.
Have questions, comments or want to see more of what the Roberts Institute of Art does? Reach us via therobertsinstituteofart.com, @therobertsinstituteofart and subscribe to our newsletter!
Have you ever wandered around a museum and thought “How on Earth did all of this stuff get here?” You’re not alone.
Throughout its reign, the British Empire stole a lot of stuff. Today those objects are housed in genteel institutions across the UK and the world. They usually come with polite plaques.
This podcast tells the stories about the not-so-polite history behind those looted objects.
In Season Two, Walkley award-winning host Marc Fennell will take you to a temple, a tree, a lab, a paradise island, a crime scene and a stage. You’ll uncover abductions, scandals and a murder investigation.
Episode One out October 20.
Season two of Stuff the British Stole is co-produced with CBC Podcasts.
Have you ever wandered around a museum and thought âHow on Earth did all of this stuff get here?â Youâre not alone.
Throughout its reign, the British Empire stole a lot of stuff. Today those objects are housed in genteel institutions across the UK and the world. They usually come with polite plaques.
This podcast tells the stories about the not-so-polite history behind those looted objects.
In Season Two, Walkley award-winning host Marc Fennell will take you to a temple, a tree, a lab, a paradise island, a crime scene and a stage. Youâll uncover abductions, scandals and a murder investigation.
Episode One out October 20.
Season two of Stuff the British Stole is co-produced with CBC Podcasts.
Kevin Beasley thinks a lot about objects. In particular, specific objects that relate to notions of American-ness and Blackness—and ones that are often linked, subtly or not, with violence. Whether with a Cadillac Escalade, a pair of Air Jordans, or an N.F.L. helmet, Beasley finds deep connections to each item he chooses to work with, rigorously studying their multifarious contexts, meanings, and histories. Happy to let artifacts sit in his New York studio for long periods of time, the 36-year-old artist allows them to slowly gestate in his mind until he feels ready to express whatever he has deciphered out of their nature. From there, he turns them into exquisite, alchemical works of art, from tightly packed “slab” sculptures—large, flat resin blocks that embody the density of the symbolic articles that comprise them—to evocative sound installations and performances.
Beasley’s prolonged approach isn’t mere research; it’s his way of making space to reflect, to pay more attention, and to grapple with the nuances of the complex, loaded subject matter that’s embedded in many of the things that permeate our everyday lives. For Beasley, unpacking subjects charged with underlying connotations is a necessary means for transformation. “You don’t have to fully understand what it is you’re dealing with,” he says. “It takes time. It takes a revisitation. And that’s okay, because that speaks very specifically to a process of learning and understanding.”
Beasley’s work often draws from his personal history, which has included growing up in admiration of the handiwork of his mechanic father, deejaying at house parties at Yale University, and attending annual family reunions in rural Virginia. It was at one such reunion, in 2011, when Beasley came across a cotton field and picked the plant for the first time—an eerie experience that was, as he considered his ancestors and enslaved peoples who once performed the act, all at once distressing, pleasurable, haunting, and illuminating. The following year, Beasley took his fascination with cotton further—and into the deep South. After finding and purchasing a mid-20th-century cotton gin motor on eBay, he drove from New Haven, Connecticut, to a farm in rural Alabama to collect the object. Beginning as part of an M.F.A. project at Yale, the motor would later evolve into an encased artwork, whirling and surrounded by microphones, inside a pristine, clear, soundproof box at the Whitney Museum of American Art—the potent centerpiece of the artist’s breakout exhibition “A View of a Landscape” (2018–2019). (The raw, rancorous noises the motor produced were pumped into an adjacent room that served as a listening gallery.) Later this year, Beasley will extend the project further with a monograph and double LP of the same name, which features sound contributions from artists, musicians, and writers such as Kelsey Lu, Jason Moran, and Fred Moten, whose tracks sample recordings that Beasley made of the churning machine.
On this episode, Beasley talks with Spencer about contemplating these particular objects, sound as a means for greater understanding, and the role of repetition in reshaping history.
Learn more about everything referenced in this episode by clicking the links below:
Theme song, "Stalker" by Tortilla
The “Living in Space” InterPlanetary Panel from IP Fest 2018
Recap of Nina’s time in Antartica
Bradbury Museum panel of LANL scientists discussing Today’s Perseverance landing
Joerael Numina’s art (The image of the Curiosity Rover behind me is one example of his work)
This week Joshua and Briana discuss Chess and Monopoly.
Time Stamps:
Chess- 6:22
Monopoly- 34:40
Sources:
Chess:
Chess second book ever written
How the queen became so powerful
Chessboard killer
Monopoly:
cbs youtube video
Mary Pilon Smithsonian article
monopoly story
Theme Song by Olivia Griffin, Briana Fogleman, and Joshua Steckelberg.
I spend a lot of time thinking about materials and objects as they relate to art and art making and I spend a fair bit of time talking about it with Jon. In this conversation, we’re talking about some of our first memories of art and of objects that we somehow recognized as “special.” We also talk about the how the contrast between the refinement of Europe and the chaos of India in Jon’s childhood contributed to and maybe even directly informed the type of work he produces decades later.
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CONNECT
You can find Jon on Instagram @jonwilkening or on his website at jonwilkening.com
If you have questions, feedback on the show, or an idea for something you'd like us to talk about, I’d love to hear from you. Email me at talkback@jefferysaddoris.com or connect with me on Instagram @jefferysaddoris.
Music in this episode: Take Me Higher (Jahzzar) / CC BY-SA 4.0
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Tell Your Friends & Share Episodes Online: You can even share a favorite show clip using the terrific Recast feature. I’ve made a video showing you how: Create Custom Audiograms with Recast by Simplecast - YouTube
Buy a copy of my book: Photography by the Letter
I spend a lot of time thinking about materials and objects as they relate to art and art making and I spend a fair bit of time talking about it with Jon. In this conversation, we’re talking about some of our first memories of art and of objects that we somehow recognized as “special.” We also talk about the how the contrast between the refinement of Europe and the chaos of India in Jon’s childhood contributed to and maybe even directly informed the type of work he produces decades later.
Subscribe: Apple Podcasts | Spotify | Stitcher | Overcast | Google Podcasts | RSS
CONNECT
You can find Jon on Instagram @jonwilkening or on his website at jonwilkening.com
If you have questions, feedback on the show, or an idea for something you'd like us to talk about, I’d love to hear from you. Email me at talkback@jefferysaddoris.com or connect with me on Instagram @jefferysaddoris.
Music in this episode: Take Me Higher (Jahzzar) / CC BY-SA 4.0
WANT TO SUPPORT THE WORK I'M DOING?
Subscribe & Review: Apple Podcasts | Spotify | Stitcher | Overcast | Google Podcasts
Tell Your Friends & Share Episodes Online: You can even share a favorite show clip using the terrific Recast feature. I’ve made a video showing you how: Create Custom Audiograms with Recast by Simplecast - YouTube
Buy a copy of my book: Photography by the Letter
Anand Sivakumaran (a.k.a. THE CROC), writer, author and live storyteller spins tales using prompts from you guys.
Words aap ke, kahani aap ke liye
Story 19 (Part.4): The Chess Set
Vaibhav loved winning. Well who doesn't? But imagine who made him win the chess game? His grandfather's wooden chess board started speaking to him. What happens next? Could he ever lose? A magical chess board is created by a magical storyteller.
You can order Anand's novel 'Natasha Mehra Must Die' here: https://amzn.to/2zXzLTR
To give your prompt reach out to Anand at https://www.facebook.com/AnandSivakumaranOfficial/ https://twitter.com/Anandloki
You can also log on to http://www.anandsivakumaran.com/!
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Find out what one of our listeners noticed "oot and aboot" in Cobden, Ontario. This small town's claim to fame? The 1867 discovery of an astrolabe that allegedly belonged to French explorer Samuel de Champlain.
Notice History is the official podcast of Know History, a historical research company based in Ottawa. Visit our website at knowhistory.ca/podcast, or follow us on Twitter and Instagram @NoticeHistory
Can you build a better world by filling it with objects that reflect more responsible values? Maria Romero is a designer trying to find out, and she's starting with the objects we use the most each day: textiles.
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