I traveled to Toledo to tape this week’s Modern Art Notes Podcast with Fred Wilson because the Toledo Museum of Art is celebrating the 50th anniversary of the studio glass movement (and its own role in it). Toledo + glass?, you ask… Well, yes: Toledo has been an international leader in glass manufacturing for decades, and still is.
Wilson’s great Iago’s Mirror is on view at the TMA as part of the exhibition “Color Ignited: Glass 1962-2012,” which spotlights artists use of glass over the last fifty years. Among the included artists are Dan Flavin and Josiah McElheny.
Absent from the show is pioneering minimalist Larry Bell, who used glass to create some of contemporary art’s most elegant sculptures, including the untitled 1980 work from MCASD’s collection shown here. Bell was the guest on Episode Twelve of The MAN Podcast. He told some great stories and re-visited some favorite ideas. Don’t miss it!
Download the Bell program directly to your PC/mobile device. Download/susbcribe via iTunes, RSS. See images of works discussed on the program here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Wilson is best known for his works made not out of pigment-and-canvas or glass, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often reinforced by collections and displays of cultural objects.
This year marks the 20th anniversary of the first and most famous of Wilson’s collection interventions, the landmark “Mining the Museum” show Wilson created at the Maryland Historical Society in conjunction with The Contemporary in Baltimore. On this week’s show Wilson tells a couple stories from “Mining the Museum,” including about the remarkable, unlikely link between his experience at the Maryland Historical Society and the silver and shackles in this installation, Metalwork, 1723-1880 (1992). (This image is also on the back cover of a new book of writings on Wilson’s work, “Fred Wilson: A Critical Reader,” edited by Doro Globus.)
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Wilson and I begin the show by discussing his recent shift toward object-making, and in particular his use of glass, such as in To Die Upon A Kiss (2011). Wilson became especially interested in Shakespeare’s “Othello” while working in Venice and the final words Othello speaks make up the title of this piece. (Also discussed on this week’s program: Wilson’s interest in Shakespeare.)
Wilson is best known for his works made not out of pigment-and-canvas or glass, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects.
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Wilson is best known for his works made not out of pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects. This year marks the 20th anniversary of Wilson’s landmark “Mining the Museum” exhibition at the Maryland Historical Society, an exhibition that was organized by Lisa Corrin for Baltimore’s The Contemporary Museum kunsthalle. Wilson has exhibited widely across the United States and has represented the United States at the Cairo Biennial (1992) and at the Venice Biennale (2003).
One of the works Wilson exhibited in Venice in 2009 was Iago’s Mirror, which the TMA acquired last year. Wilson and I recorded this week’s show while sitting in front of it. [Image above: Wilson, courtesy TMA/Andrew Weber.]
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Among the pieces we discuss on this week’s show is Iago’s Mirror (2009, above, click to expand), which is in the collections of the Toledo Museum of Art and the Museum of Fine Arts, Boston. It’s remarkable… and on this week’s MAN Podcast, Wilson tells the story of his interest in Shakespeare as well as how he conceived and created the piece.
Wilson is best known for his works made not out of glass, pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects.
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Among the pieces we discuss on this week’s show is Drip Group (2010, above), and Wilson’s black-glass tear pieces… and what color the glass really is. (Hint: It’s not black.)
Wilson is best known for his works made not out of pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects.
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Wilson is best known for his works made not out of pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects. This year marks the 20th anniversary of Wilson’s landmark “Mining the Museum” exhibition at the Maryland Historical Society, an exhibition that was organized by Lisa Corrin for Baltimore’s The Contemporary Museum kunsthalle. Wilson has exhibited widely across the United States and has represented the United States at the Cairo Biennial (1992) and at the Venice Biennale (2003).
One of the works Wilson exhibited in Venice in 2009 was Iago’s Mirror, which the TMA acquired last year. Wilson and I recorded this week’s show while sitting in front of it. [Image above: Wilson, courtesy TMA/Andrew Weber.]
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
