But it doesn’t just sit glittering on the surface. Hey, it’s Tamar. 44 - Louise Bourgeois' "Pillar" (1949-50), Ep. Somewhere between the life of the mind and the boots on the ground sits Pop artist Claes Oldenburg, who wants us to see that both of those worlds are one and the same, and that there's value, and even beauty, to our joy-sparking stuff (and maybe we can finally let ourselves admit it.) 15 - El Anatsui's "Black River" (2009), Ep. Photographs are just as easily manipulated, just as calculated, just as filtered through the eye of the photographer. "This week: you know TFW you’re rooted in place in front of a video screen, feeling unbearably uncomfortable yet unable to look away, and questioning everything you thought you knew…, Welcome to Raw Material from SFMOMA! You can also access the episodes on your favorite podcast app. 42 - Katsushika Hokusai's "The Great Wave off Kanagawa" (c. 1829-1832), Ep. 1926). The Lonely Palette is the first podcast-in-residence at the Museum of Fine Arts, Boston! More episodes at getty.edu/recordingartists/.By SFMOMA, “A painting is not a picture of an experience. Or for that matter, the incredible power of a wave itself?See the images:http://www.thelonelypalette.com/episodes/2020/2/5/episode-42-katsushika-hokusais-the-great-wave-off-kana…, Sayre Quevedo, Raw Material’s podcaster-in-residence for Season 6, is at the end of his journey. 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. Of course, the tension between the abstract and the specific is a familiar one. 39 - Rembrandt van Rijn's "Portrait of Aeltje Uylenburgh" (1632), BonusEp. 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. Sugimoto loved playing with the idea that photographs can lie, producing a series of photographs of dioramas from natural history museums—seemingly-authentic polar bears on ice flows that are as fake as a movie set. This episode was produced by Art History for All. [laughs] But at the same time, depending on how you look at it, it can be calm, calming, ‘cause it just looks very quiet. 46 - Patty Chang's "Melons (At A Loss)" (1998), Ep. 9 - Ernst Ludwig Kirchner's "Reclining Nude" (1909), Re-ReleaseEp. Because this is how we best prepare ourselves to approach any of Sugimoto’s photographs, and to truly experience this fundamental tension he creates between the abstract and the specific—and from there, to truly appreciate how he captures time. They’re both layered, dense, hard to read, and most of the time you’re not quite sure if you get it. 15 - El Anatsui's "Black River" (2009), Ep. So grab a spelunking hardhat and together we'll mine these layers of metaphor and mater…, The art of postwar German artist Anselm Kiefer and the poetry of Holocaust survivor Paul Celan have a lot in common. The Lonely Palette is currently the podcast-in-residence at the Museum of Fine Arts, Boston, and we're partnering up to bring the museum to you during its closure due to Covid-19 by spotlighting both the rock star and the lesser-known objects from the museum's permanent collection. The evening was a celebration of two award-winning artists, collaborators, and friends, whose work was on display at the garage's exhibition space. Ep. Time. It's both an exquisite, highly-technical photograph of an interior and a deeply eerie portrait of a void, like looking into the white of an eye with no eyeball. By presenting these theaters in such sharp detail, it’s like he’s asking us to time travel, to place ourselves in the moment by placing ourselves in those plush velvet seats, which haven’t yet been blurred by a fading memory. © 2020 The Easton Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. 39 - Rembrandt van Rijn's "Portrait of Aeltje Uylenburgh" (1632), Re-ReleaseEp. Music u... Sure, you've seen it a million times in a million memes, but when was the last time you actually stopped to contemplate the incredible power of this Japanese ukiyo-e print? After all, when he isn’t photographing movie theaters and dioramas, he’s capturing seascapes—calm, meditative divisions of monochromatic blocks, dividing the canvas in two, the water and the horizon, the ripples in sharp focus in the midst of the most gentle, endless blur. In a 1975 interview, she discusses the diverse sources for her art and how she prevailed in the face of racism and gender discrimination.This episode is produced by the J. Paul Getty Museum Museum. So relax into your PJs, put your feet up, and let's #MuseumFromHome together. He embodies both abstraction and specificity: as an architect, of course, he needs to be specific and precise—after all, no matter how beautiful a building is, its walls still need to be load-bearing; it still needs to be at least somewhat functional. This is a blank screen, there’s no one in the theater, nothing is moving. It is the experience.”— Mark RothkoThis episode is produced by The Lonely Palette. Take the English photographer Eadweard Muybridge, who, in the later 1870s, experiments with multiple cameras that capture a horse galloping, like the individual pages of a flip book. Rather, it’s the first part of a two-step process: we seek an environment of stillness to better listen to our own internal noise, so that we can then take the next steps of processing that noise and arriving at a kind of internal stillness. Playing with time is like playing with a Chinese finger trap; it’s futile to try to force it. His goal is to retrieve twenty-two love letters he wrote to a man who doesn’t deserve them. It becomes immediately outdated and functionally useless. So relax into your PJs, put your feet up, and let's #MuseumFromHome together. And here, we’re looking at a photograph of a theater interior, and it’s incredibly, almost piercingly, sharp. Transcript for Sugimoto Hiroshi, Byrd Theater, Richmond, 1993 Episode. The series will focus on five …, Sure, you've seen it a million times in a million memes, but when was the last time you actually stopped to contemplate the incredible power of this Japanese ukiyo-e print? And then, of course, our good friends the Futurists borrow this idea and further infuse this dynamism with speed and power, showing every movement at once as their figures stride across canvases. The podcast that returns art history to the masses, one painting at a time. I’ve had one of these photos as my desktop background all week, and, honestly, I can’t recommend it highly enough. The season is a curated "mixtape" of art and art-adjacence podcasts (including episodes from 99% Invisible, Everything Is Alive, Recording Artists, and others, including a bonus new episode of The Lonely Palette), all o…, Catch a sneak peak of what’s coming this season on Raw Material's "summer mixtape," from SFMOMA.Season update: Raw Material is temporarily suspending this season to create space for more urgent stories and conversations. The film is just a tool of the artist, same as the paper he prints the photo onto. So relax into your PJs, put your feet up, and let's #MuseumFromHome together. After all, capturing movement is capturing time, because you’re articulating both the space and the trajectory between two moments. In other words, this empty screen is actually the whole movie. Josh and Chuck have you covered. More episodes at…, Art History For All guides you through Roberto Matta’s surreal mental landscape, Invasion of the Night (1941), and explores its connections to physics and psychology. And what makes this exhibition so powerful is that it is simply full of images of emptiness that we in turn fill up. / Artists Rights Society (ARS), New York. 31 - Hiroshi Sugimoto's "Byrd Theater, Richmond, 1993" (1993), Re-ReleaseEp. Oil on canvas. "This week: you’ve never noticed the carnality of the body you live in, and the rawness of the emotions that live inside that body, until you find yourself spun into French-American…, The Lonely Palette is currently the podcast-in-residence at the Museum of Fine Arts, Boston, highlighting five objects from the ongoing exhibition "Women Take the Floor. Time, the most fleeting and invisible and powerful force that human beings can experience, is captured, even for just a moment, as a glowing, pulsing square that illuminates relics of the past. Sometimes the best starting point is through the layered, dense, and idiosyncratic ways that an individual processes trauma. 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. © 2020 Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York. Enjoy this month's podcast petri dish of art, culture, history, and society, and subscribe to any and all Hub & Spoke shows at www.hubspo…, Jazmin Jones is pathologically inept at returning phone calls. ‘Cause I’ll be the only one in the theater, and I’ll have the best seat in the house, and I’ll get to see it all. This is the art that observes, that documents. You know, black and white photography, lots of darks, but the contrast, right around the stage—it’s bright white, and then right next to it is the deep blacks. 47 - George Seurat's "A Sunday Afternoon on La Grande Jatte" (1884-86), Re-ReleaseEp.
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