http://www.odeo.com/channels/2109846-Whitney-Focus no Whitney Focus presents original video programming from the Whitney Museum of American Art in New York. The Whitney houses one of the world's foremost collections of contemporary American art and programs provocative special exhibitions by the most promising and influential American artists of the 20th and 21st century. Whitney Focus features interviews with artists and curators, as well as other video-based content, offering a unique and up-close view of Whitney exhibitions and programs. For more information about the Whitney, visit whitney.org Whitney Focus presents original video programming from the Whitney Museum of American Art in New York. The Whitney houses one of the world's foremost collections of contemporary American art and programs provocative special exhibitions by the most promising and influential American artists of the 20th and 21st century. Whitney Focus features interviews with artists and curators, as well as other video-based content, offering a unique and up-close view of Whitney exhibitions and programs. For more information about the Whitney, visit whitney.org Whitney Focus presents original video programming from the Whitney Museum of American Art in New York. The Whitney houses one of the world's foremost collections of contemporary American art and programs provocative special exhibitions by the most promisi en 40 Wed, 16 Sep 2009 07:15:11 -0700 Wed, 16 Sep 2009 07:15:11 -0700 (c) 2008 Whitney Museum of American Art, all rights reserved Artists, art, museum, whitney, biennial, curators Visual Arts Artists art museum whitney biennial curators http://www.odeo.com/episodes/25236645-Conserving-Claes-Oldenburg-s-Ice-Bag-Scale-C-1971 In this video, Whitney curator Dana Miller, conservator Eleanora Nagy, and artist Claes Oldenburg discuss the conservation process of Oldenburg’s Ice Bag- Scale C, 1971. Also included is commentary by the team of specialists who assisted in the restoration including a hi-fi engineer, an electrician, an auto body restorer, and a custom fabric designer. In this video, Whitney curator Dana Miller, conservator Eleanora Nagy, and artist Claes Oldenburg discuss the conservation process of Oldenburg’s Ice Bag- Scale C, 1971. Also included is commentary by the team of specialists who assisted in the restoration including a hi-fi engineer, an electrician, an auto body restorer, and a custom fabric designer. In this video, Whitney curator Dana Miller, conservator Eleanora Nagy, and artist Claes Oldenburg discuss the conservation process of Oldenburg’s Ice Bag- Scale C, 1971. Also included is commentary by the team of specialists who assisted in the restoration including a hi-fi engineer, an electrician, an auto body restorer, and a custom fabric designer. tag:odeo.com,2009-09-16,25236645 Wed, 16 Sep 2009 07:15:11 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/25095177-The-Carl-Walters-Doors Visitors to the Whitney often wonder about the glass doors in the 5th floor galleries. The doors, designed by Carl Walters, originally stood at the entrance to the first location of the Whitney Museum on 8th Street in 1931. Visitors to the Whitney often wonder about the glass doors in the 5th floor galleries. The doors, designed by Carl Walters, originally stood at the entrance to the first location of the Whitney Museum on 8th Street in 1931. Visitors to the Whitney often wonder about the glass doors in the 5th floor galleries. The doors, designed by Carl Walters, originally stood at the entrance to the first location of the Whitney Museum on 8th Street in 1931. tag:odeo.com,2009-09-08,25095177 Tue, 08 Sep 2009 17:54:09 -0700 no Whitney Focus art, Whitney Museum, carl walters, whitney focus, whitney museum of american art Artists art museum whitney biennial curators http://www.odeo.com/episodes/25092850-Museum-Guard-Adrienne-Austin-on-Working-at-the-Whitney Museum Guard Adrienne Austin discusses her long career at the Whitney Museum and shares her thoughts on the art world. Museum Guard Adrienne Austin discusses her long career at the Whitney Museum and shares her thoughts on the art world. Museum Guard Adrienne Austin discusses her long career at the Whitney Museum and shares her thoughts on the art world. tag:odeo.com,2009-09-08,25092850 Tue, 08 Sep 2009 16:52:36 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/25091150-Dan-Graham-Beyond In this video, narrated by Anne and Joel Ehrenkranz Curator Chrissie Iles, artist Dan Graham discusses Heart Pavillion (1991), Public Space, Two Audiences (1976), and Opposing Mirror and Video Monitors (1974) all on view in Dan Graham: Beyond at the Whitney Museum. In this video, narrated by Anne and Joel Ehrenkranz Curator Chrissie Iles, artist Dan Graham discusses Heart Pavillion (1991), Public Space, Two Audiences (1976), and Opposing Mirror and Video Monitors (1974) all on view in Dan Graham: Beyond at the Whitney Museum. In this video, narrated by Anne and Joel Ehrenkranz Curator Chrissie Iles, artist Dan Graham discusses Heart Pavillion (1991), Public Space, Two Audiences (1976), and Opposing Mirror and Video Monitors (1974) all on view in Dan Graham: Beyond at the Whitney Museum. tag:odeo.com,2009-09-08,25091150 Tue, 08 Sep 2009 08:44:22 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24994918-Dan-Graham-Beyond tag:odeo.com,2009-08-20,24994918 Thu, 20 Aug 2009 14:20:50 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24987494-Whitney-Focus-presents-Peter-Halley-s-The-Acid-Test Peter Halley discusses his painting The Acid Test. In this video, Halley references technology, the city grid, and prisons as influences on his iconography. He also discusses his use of Day-Glo paint to express the ecstatic, euphoric feeling that went into the work. Peter Halley discusses his painting The Acid Test. In this video, Halley references technology, the city grid, and prisons as influences on his iconography. He also discusses his use of Day-Glo paint to express the ecstatic, euphoric feeling that went into the work. Peter Halley discusses his painting The Acid Test. In this video, Halley references technology, the city grid, and prisons as influences on his iconography. He also discusses his use of Day-Glo paint to express the ecstatic, euphoric feeling that went into the work. tag:odeo.com,2009-08-03,24987494 Mon, 03 Aug 2009 13:29:40 -0700 no Whitney Focus Default Category Artists art museum whitney biennial curators http://www.odeo.com/episodes/24987496-Gary-Simmons-on-Ghoster Gary Simmons discusses Ghoster, an erasure drawing based upon his childhood memories of roller coasters such as the Coney Island Cyclone. In this video, Simmons explains how Ghoster negotiates issues of race and access, and speaks to the significance of these types of shared sites and experiences. Gary Simmons discusses Ghoster, an erasure drawing based upon his childhood memories of roller coasters such as the Coney Island Cyclone. In this video, Simmons explains how Ghoster negotiates issues of race and access, and speaks to the significance of these types of shared sites and experiences. Gary Simmons discusses Ghoster, an erasure drawing based upon his childhood memories of roller coasters such as the Coney Island Cyclone. In this video, Simmons explains how Ghoster negotiates issues of race and access, and speaks to the significance of these types of shared sites and experiences. tag:odeo.com,2009-07-29,24987496 Wed, 29 Jul 2009 12:34:33 -0700 no Whitney Focus Default Category Artists art museum whitney biennial curators http://www.odeo.com/episodes/24987497-Kenny-Scharf-on-When-The-Worlds-Collide In this video, artist Kenny Scharf discusses When the Worlds Collide—a painting he made in the studio of his friend Keith Haring. He cites pop culture, science fiction, and fun as influences in creating the work. In this video, artist Kenny Scharf discusses When the Worlds Collide—a painting he made in the studio of his friend Keith Haring. He cites pop culture, science fiction, and fun as influences in creating the work. In this video, artist Kenny Scharf discusses When the Worlds Collide—a painting he made in the studio of his friend Keith Haring. He cites pop culture, science fiction, and fun as influences in creating the work. tag:odeo.com,2009-07-16,24987497 Thu, 16 Jul 2009 13:14:52 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24801075-Youth-Insights Video highlighting the diversity of Youth Insights participants. Video highlighting the diversity of Youth Insights participants. Video highlighting the diversity of Youth Insights participants. tag:odeo.com,2009-07-14,24801075 Tue, 14 Jul 2009 08:08:49 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24685557-Whitney-Focus-presents-Claes-Oldenburg-s-Giant-BLT Curator Dana Miller narrates the assembling of Claes Oldenburg's Giant BLT (Bacon, Lettuce, and Tomato Sandwich). Using early installation photographs as a reference, Miller guides art handlers through the placement of each of the "bacon," "lettuce," and "tomatoes" of the soft sculpture. This careful process is one of the many ways, the curator explains, in which Oldenburg’s work encourages the viewer to "look at your world with fresh eyes." Curator Dana Miller narrates the assembling of Claes Oldenburg's Giant BLT (Bacon, Lettuce, and Tomato Sandwich). Using early installation photographs as a reference, Miller guides art handlers through the placement of each of the "bacon," "lettuce," and "tomatoes" of the soft sculpture. This careful process is one of the many ways, the curator explains, in which Oldenburg’s work encourages the viewer to "look at your world with fresh eyes." Curator Dana Miller narrates the assembling of Claes Oldenburg's Giant BLT (Bacon, Lettuce, and Tomato Sandwich). Using early installation photographs as a reference, Miller guides art handlers through the placement of each of the "bacon," "lettuce," and "tomatoes" of the soft sculpture. This careful process is one of the many ways, the curator explains, in which Oldenburg’s work encourages the viewer to "look at your world with fresh eyes." tag:odeo.com,2009-06-10,24685557 Wed, 10 Jun 2009 11:15:50 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24678802-Whitney-Focus-presents-Claes-Oldenburg Claes Oldenburg discusses his 12-foot diameter Ice Bag-Scale C, from a series executed in 1971. Characteristic of Oldenburg's work, the prosaic object is transformed through a dramatic increase of scale. However, it is the addition of movement that produces what Oldenburg describes as the Ice Bag's "magic effect." Claes Oldenburg discusses his 12-foot diameter Ice Bag-Scale C, from a series executed in 1971. Characteristic of Oldenburg's work, the prosaic object is transformed through a dramatic increase of scale. However, it is the addition of movement that produces what Oldenburg describes as the Ice Bag's "magic effect." Claes Oldenburg discusses his 12-foot diameter Ice Bag-Scale C, from a series executed in 1971. Characteristic of Oldenburg's work, the prosaic object is transformed through a dramatic increase of scale. However, it is the addition of movement that produces what Oldenburg describes as the Ice Bag's "magic effect." tag:odeo.com,2009-06-09,24678802 Tue, 09 Jun 2009 13:11:55 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24685558-Whitney-Focus-presents-Claes-Oldenburg-s-Ice-Bag-Scale-C Claes Oldenburg discusses his 12-foot diameter Ice Bag-Scale C, from a series executed in 1971. Characteristic of Oldenburg's work, the prosaic object is transformed through a dramatic increase of scale. However, it is the addition of movement that produces what Oldenburg describes as the Ice Bag's "magic effect." Claes Oldenburg discusses his 12-foot diameter Ice Bag-Scale C, from a series executed in 1971. Characteristic of Oldenburg's work, the prosaic object is transformed through a dramatic increase of scale. However, it is the addition of movement that produces what Oldenburg describes as the Ice Bag's "magic effect." Claes Oldenburg discusses his 12-foot diameter Ice Bag-Scale C, from a series executed in 1971. Characteristic of Oldenburg's work, the prosaic object is transformed through a dramatic increase of scale. However, it is the addition of movement that produces what Oldenburg describes as the Ice Bag's "magic effect." tag:odeo.com,2009-06-09,24685558 Tue, 09 Jun 2009 13:11:55 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24653292-Whitney-Focus-presents-Lynda-Benglis Artist Lynda Benglis discusses the process of creating Contraband by pigmenting rubber latex and pouring it on the floor of her studio. First recognized for “spill” pieces such as this one, Benglis explains how her materials relate to nature, chemistry, and cooking. Artist Lynda Benglis discusses the process of creating Contraband by pigmenting rubber latex and pouring it on the floor of her studio. First recognized for “spill” pieces such as this one, Benglis explains how her materials relate to nature, chemistry, and cooking. Artist Lynda Benglis discusses the process of creating Contraband by pigmenting rubber latex and pouring it on the floor of her studio. First recognized for “spill” pieces such as this one, Benglis explains how her materials relate to nature, chemistry, and cooking. tag:odeo.com,2009-06-04,24653292 Thu, 04 Jun 2009 12:22:50 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24558569-Whitney-Focus-presents-Jenny-Holzer-PROTECT-PROTECT This podcast focuses on the politics of Jenny Holzers work on view in "PROTECT PROTECT" at the Whitney Museum.. It features Kate Doyle, Senior Analyst at the National Security Archive and Laurel Fletcher, Clinical Professor of Law and Director of the International Human Rights Law Clinic, University of California, Berkeley. Doyle offers a close look at Holzers "Redaction Paintings", which feature declassified government documents pertaining to the wars in Iraq and Afghanistan. Fletcher discusses "Lustmord"—a series of texts Holzer wrote in response to the systematic raping of Bosnian women by Serbian soldiers in the genocidal war in the former Yugoslavia. This podcast focuses on the politics of Jenny Holzers work on view in "PROTECT PROTECT" at the Whitney Museum.. It features Kate Doyle, Senior Analyst at the National Security Archive and Laurel Fletcher, Clinical Professor of Law and Director of the International Human Rights Law Clinic, University of California, Berkeley. Doyle offers a close look at Holzers "Redaction Paintings", which feature declassified government documents pertaining to the wars in Iraq and Afghanistan. Fletcher discusses "Lustmord"—a series of texts Holzer wrote in response to the systematic raping of Bosnian women by Serbian soldiers in the genocidal war in the former Yugoslavia. This podcast focuses on the politics of Jenny Holzers work on view in "PROTECT PROTECT" at the Whitney Museum.. It features Kate Doyle, Senior Analyst at the National Security Archive and Laurel Fletcher, Clinical Professor of Law and Director of the International Human Rights Law Clinic, University of California, Berkeley. Doyle offers a close look at Holzers "Redaction Paintings", which feature declassified government documents pertaining to the wars in Iraq and Afghanistan. Fletcher discusses "Lustmord"—a series of texts Holzer wrote in response to the systematic raping of Bosnian women by Serbian soldiers in the genocidal war in the former Yugoslavia. tag:odeo.com,2009-05-11,24558569 Mon, 11 May 2009 14:21:02 -0700 no Whitney Focus war, Politics, art, Whitney Museum, jenny holzer, redaction paintings, truisms, light installations Artists art museum whitney biennial curators http://www.odeo.com/episodes/24386823-Installation-of-Jenny-Holzer-s-For-Chicago-Whitney-Museum Watch a time-lapse video of the installation of the LED sculpture For Chicago (2008) from the exhibition Jenny Holzer: PROTECT PROTECT, on view at the Whitney Museum of American Art through May 31, 2009. Watch a time-lapse video of the installation of the LED sculpture For Chicago (2008) from the exhibition Jenny Holzer: PROTECT PROTECT, on view at the Whitney Museum of American Art through May 31, 2009. Watch a time-lapse video of the installation of the LED sculpture For Chicago (2008) from the exhibition Jenny Holzer: PROTECT PROTECT, on view at the Whitney Museum of American Art through May 31, 2009. tag:odeo.com,2009-03-30,24386823 Mon, 30 Mar 2009 10:30:08 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/23727570-William-Eggleston-Democratic-Camera-Photographs-and-Video-1961-2008 This candid interview with photographer William Eggleston was conducted by film director Michael Almereyda on the occasion of the opening of Eggleston's retrospective William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 at the Whitney Museum of American Art. A key figure in American photography, Eggleston is credited almost single-handedly with ushering in the era of color photography. Eggleston discusses his shift from black and white to color photography in this video as, "it never was a conscious thing. I had wanted to see a lot of things in color because the world is in color". Also included in this video are Eggleston's remarks about his personal relationships with the subjects of many of his photographs. Michael Almereyda is director of the film William Eggleston and the Real World (2005). This candid interview with photographer William Eggleston was conducted by film director Michael Almereyda on the occasion of the opening of Eggleston's retrospective William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 at the Whitney Museum of American Art. A key figure in American photography, Eggleston is credited almost single-handedly with ushering in the era of color photography. Eggleston discusses his shift from black and white to color photography in this video as, "it never was a conscious thing. I had wanted to see a lot of things in color because the world is in color". Also included in this video are Eggleston's remarks about his personal relationships with the subjects of many of his photographs. Michael Almereyda is director of the film William Eggleston and the Real World (2005). This candid interview with photographer William Eggleston was conducted by film director Michael Almereyda on the occasion of the opening of Eggleston's retrospective William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 at the Whitney Museum of American Art. A key figure in American photography, Eggleston is credited almost single-handedly with ushering in the era of color photography. Eggleston discusses his shift from black and white to color photography in this video as, "it never was a conscious thing. I had wanted to see a lot of things in color because the world is in color". Also included in this video are Eggleston's remarks about his personal relationships with the subjects of many of his photographs. Michael Almereyda is director of the film William Eggleston and the Real World (2005). tag:odeo.com,2008-12-09,23727570 Tue, 09 Dec 2008 09:34:14 -0800 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201951-William-Eggleston-Democratic-Camera-Photographs-and-Video-1961-2008 This candid interview with photographer William Eggleston was conducted by film director Michael Almereyda on the occasion of the opening of Eggleston's retrospective William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 at the Whitney Museum of American Art. A key figure in American photography, Eggleston is credited almost single-handedly with ushering in the era of color photography. Eggleston discusses his shift from black and white to color photography in this video as, "it never was a conscious thing. I had wanted to see a lot of things in color because the world is in color". Also included in this video are Eggleston's remarks about his personal relationships with the subjects of many of his photographs.Michael Almereyda is director of the film William Eggleston and the Real World (2005). This candid interview with photographer William Eggleston was conducted by film director Michael Almereyda on the occasion of the opening of Eggleston's retrospective William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 at the Whitney Museum of American Art. A key figure in American photography, Eggleston is credited almost single-handedly with ushering in the era of color photography. Eggleston discusses his shift from black and white to color photography in this video as, "it never was a conscious thing. I had wanted to see a lot of things in color because the world is in color". Also included in this video are Eggleston's remarks about his personal relationships with the subjects of many of his photographs.Michael Almereyda is director of the film William Eggleston and the Real World (2005). This candid interview with photographer William Eggleston was conducted by film director Michael Almereyda on the occasion of the opening of Eggleston's retrospective William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 at the Whitney Museum of American Art. A key figure in American photography, Eggleston is credited almost single-handedly with ushering in the era of color photography. Eggleston discusses his shift from black and white to color photography in this video as, "it never was a conscious thing. I had wanted to see a lot of things in color because the world is in color". Also included in this video are Eggleston's remarks about his personal relationships with the subjects of many of his photographs.Michael Almereyda is director of the film William Eggleston and the Real World (2005). tag:odeo.com,2008-12-09,24201951 Tue, 09 Dec 2008 09:34:14 -0800 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/23696346-God-Damn-That-s-A-Good-Looking-Blue-Winston-Eggleston-on-William-Eggleston It’s difficult to impossible to get William Eggleston to talk about his work much less his working style. In 2004 while preparing a film for ICP’s Infinity Awards, I had the privilege to speak to Bill’s youngest son Winston. Winston suspended his own photography career to be his father’s photographic assistant. Winston and his brother took over running their father’s archive in 1992, attempting to organize and catalog the entire body of work. Negatives were in different cities and many things were missing; there are many stories of boxes of prints vanishing after a late night of partying. Bill’s generosity played a large role in giving away innumerable photographs. During the interview, Winston provided a window into his father’s life and background: he loves guns, but does not hunt; likes stamps, likes old rugs, and loves Bach. Most importantly Winston was able to impart the feeling of being along side his father while he photographed. He provides us with a context for each image a... It’s difficult to impossible to get William Eggleston to talk about his work much less his working style. In 2004 while preparing a film for ICP’s Infinity Awards, I had the privilege to speak to Bill’s youngest son Winston. Winston suspended his own photography career to be his father’s photographic assistant. Winston and his brother took over running their father’s archive in 1992, attempting to organize and catalog the entire body of work. Negatives were in different cities and many things were missing; there are many stories of boxes of prints vanishing after a late night of partying. Bill’s generosity played a large role in giving away innumerable photographs. During the interview, Winston provided a window into his father’s life and background: he loves guns, but does not hunt; likes stamps, likes old rugs, and loves Bach. Most importantly Winston was able to impart the feeling of being along side his father while he photographed. He provides us with a context for each image and expresses an adoration of the photographs as only a son can. Film and interview directed by: Douglas SloanCourtesy: Icontent Films and Intelligent Content.com It’s difficult to impossible to get William Eggleston to talk about his work much less his working style. In 2004 while preparing a film for ICP’s Infinity Awards, I had the privilege to speak to Bill’s youngest son Winston. Winston suspended his own photography career to be his father’s photographic assistant. Winston and his brother took over running their father’s archive in 1992, attempting to organize and catalog the entire body of work. Negatives were in different cities and many things were missing; there are many stories of boxes of prints vanishing after a late night of partying. Bill’s generosity played a large role in giving away innumerable photographs. During the interview, Winston provided a window into his father’s life and background: he loves guns, but does not hunt; likes stamps, likes old rugs, and loves Bach. Most importantly Winston was able to impart the feeling of being along side his father while he photographed. He provides us with a context for each image and expresses an adoration of the photographs as only a son can. Film and interview directed by: Douglas SloanCourtesy: Icontent Films and Intelligent Content.com tag:odeo.com,2008-12-02,23696346 Tue, 02 Dec 2008 12:09:27 -0800 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201952-God-Damn-That-s-A-Good-Looking-Blue-Winston-Eggleston-on-William-Eggleston It’s difficult to impossible to get William Eggleston to talk about his work much less his working style. In 2004 while preparing a film for ICP’s Infinity Awards, I had the privilege to speak to Bill’s youngest son Winston. Winston suspended his own photography career to be his father’s photographic assistant. Winston and his brother took over running their father’s archive in 1992, attempting to organize and catalog the entire body of work. Negatives were in different cities and many things were missing; there are many stories of boxes of prints vanishing after a late night of partying. Bill’s generosity played a large role in giving away innumerable photographs. During the interview, Winston provided a window into his father’s life and background: he loves guns, but does not hunt; likes stamps, likes old rugs, and loves Bach. Most importantly Winston was able to impart the feeling of being along side his father while he photographed. He provides us with a context for each image a... It’s difficult to impossible to get William Eggleston to talk about his work much less his working style. In 2004 while preparing a film for ICP’s Infinity Awards, I had the privilege to speak to Bill’s youngest son Winston. Winston suspended his own photography career to be his father’s photographic assistant. Winston and his brother took over running their father’s archive in 1992, attempting to organize and catalog the entire body of work. Negatives were in different cities and many things were missing; there are many stories of boxes of prints vanishing after a late night of partying. Bill’s generosity played a large role in giving away innumerable photographs. During the interview, Winston provided a window into his father’s life and background: he loves guns, but does not hunt; likes stamps, likes old rugs, and loves Bach. Most importantly Winston was able to impart the feeling of being along side his father while he photographed. He provides us with a context for each image and expresses an adoration of the photographs as only a son can.Film and interview directed by: Douglas SloanCourtesy: Icontent Films and Intelligent Content.com It’s difficult to impossible to get William Eggleston to talk about his work much less his working style. In 2004 while preparing a film for ICP’s Infinity Awards, I had the privilege to speak to Bill’s youngest son Winston. Winston suspended his own photography career to be his father’s photographic assistant. Winston and his brother took over running their father’s archive in 1992, attempting to organize and catalog the entire body of work. Negatives were in different cities and many things were missing; there are many stories of boxes of prints vanishing after a late night of partying. Bill’s generosity played a large role in giving away innumerable photographs. During the interview, Winston provided a window into his father’s life and background: he loves guns, but does not hunt; likes stamps, likes old rugs, and loves Bach. Most importantly Winston was able to impart the feeling of being along side his father while he photographed. He provides us with a context for each image and expresses an adoration of the photographs as only a son can.Film and interview directed by: Douglas SloanCourtesy: Icontent Films and Intelligent Content.com tag:odeo.com,2008-12-02,24201952 Tue, 02 Dec 2008 12:09:27 -0800 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/23632035-Corin-Hewitt-Seed-Stage Artist Corin Hewitt takes up occupancy in the Whitney's Anne & Joel Ehrenkranz Lobby Gallery in this ongoing installation that is part performance art, part live theater, and part meditation on ideas about still life. Redefining the notion of the artist-in-residence, Hewitt physically moves about the space and engages in the manipulation of materials, both homegrown and store-bought, questioning the autonomy of the art object through a process of its constant transmutation. Artist Corin Hewitt takes up occupancy in the Whitney's Anne & Joel Ehrenkranz Lobby Gallery in this ongoing installation that is part performance art, part live theater, and part meditation on ideas about still life. Redefining the notion of the artist-in-residence, Hewitt physically moves about the space and engages in the manipulation of materials, both homegrown and store-bought, questioning the autonomy of the art object through a process of its constant transmutation. Artist Corin Hewitt takes up occupancy in the Whitney's Anne & Joel Ehrenkranz Lobby Gallery in this ongoing installation that is part performance art, part live theater, and part meditation on ideas about still life. Redefining the notion of the artist-in-residence, Hewitt physically moves about the space and engages in the manipulation of materials, both homegrown and store-bought, questioning the autonomy of the art object through a process of its constant transmutation. tag:odeo.com,2008-11-17,23632035 Mon, 17 Nov 2008 10:43:24 -0800 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201953-Corin-Hewitt-Seed-Stage Artist Corin Hewitt takes up occupancy in the Whitney's Anne & Joel Ehrenkranz Lobby Gallery in this ongoing installation that is part performance art, part live theater, and part meditation on ideas about still life. Redefining the notion of the artist-in-residence, Hewitt physically moves about the space and engages in the manipulation of materials, both homegrown and store-bought, questioning the autonomy of the art object through a process of its constant transmutation. Artist Corin Hewitt takes up occupancy in the Whitney's Anne & Joel Ehrenkranz Lobby Gallery in this ongoing installation that is part performance art, part live theater, and part meditation on ideas about still life. Redefining the notion of the artist-in-residence, Hewitt physically moves about the space and engages in the manipulation of materials, both homegrown and store-bought, questioning the autonomy of the art object through a process of its constant transmutation. Artist Corin Hewitt takes up occupancy in the Whitney's Anne & Joel Ehrenkranz Lobby Gallery in this ongoing installation that is part performance art, part live theater, and part meditation on ideas about still life. Redefining the notion of the artist-in-residence, Hewitt physically moves about the space and engages in the manipulation of materials, both homegrown and store-bought, questioning the autonomy of the art object through a process of its constant transmutation. tag:odeo.com,2008-11-17,24201953 Mon, 17 Nov 2008 10:43:24 -0800 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/23358664-Paul-McCarthy-Central-Symmetrical-Rotation-Movement-Three-Installations-Two-Films Chrissie Iles, Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art, discusses Paul McCarthy: Central Symmetrical Rotation Movement. This exhibition brings together a group of new and rarely seen works by Paul McCarthy (b. 1945), one of the most important American artists of his generation. The installations, films, photographs, and drawings on view focus on a central element of McCarthy's practice: the way the body is destabilized through dislocations of architectural space. The disorientation that threads though all of the works shown here is at once formal, corporeal, and psychological. The screens, projectors, and rotating cameras of Spinning Room place the viewer at the center of hypnotic environment whereas the moving walls and doors of Bang Bang Room collapse our notion of stable architectural space. In Madhouse the walls and chair spinning at varying speeds conjure a similar state of physical and mental disorientation. Chrissie Iles, Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art, discusses Paul McCarthy: Central Symmetrical Rotation Movement. This exhibition brings together a group of new and rarely seen works by Paul McCarthy (b. 1945), one of the most important American artists of his generation. The installations, films, photographs, and drawings on view focus on a central element of McCarthy's practice: the way the body is destabilized through dislocations of architectural space. The disorientation that threads though all of the works shown here is at once formal, corporeal, and psychological. The screens, projectors, and rotating cameras of Spinning Room place the viewer at the center of hypnotic environment whereas the moving walls and doors of Bang Bang Room collapse our notion of stable architectural space. In Madhouse the walls and chair spinning at varying speeds conjure a similar state of physical and mental disorientation. Chrissie Iles, Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art, discusses Paul McCarthy: Central Symmetrical Rotation Movement. This exhibition brings together a group of new and rarely seen works by Paul McCarthy (b. 1945), one of the most important American artists of his generation. The installations, films, photographs, and drawings on view focus on a central element of McCarthy's practice: the way the body is destabilized through dislocations of architectural space. The disorientation that threads though all of the works shown here is at once formal, corporeal, and psychological. The screens, projectors, and rotating cameras of Spinning Room place the viewer at the center of hypnotic environment whereas the moving walls and doors of Bang Bang Room collapse our notion of stable architectural space. In Madhouse the walls and chair spinning at varying speeds conjure a similar state of physical and mental disorientation. tag:odeo.com,2008-09-16,23358664 Tue, 16 Sep 2008 12:27:29 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201954-Paul-McCarthy-Central-Symmetrical-Rotation-Movement-Three-Installations-Two-Films Chrissie Iles, Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art, discusses Paul McCarthy: Central Symmetrical Rotation Movement. This exhibition brings together a group of new and rarely seen works by Paul McCarthy (b. 1945), one of the most important American artists of his generation. The installations, films, photographs, and drawings on view focus on a central element of McCarthy's practice: the way the body is destabilized through dislocations of architectural space. The disorientation that threads though all of the works shown here is at once formal, corporeal, and psychological. The screens, projectors, and rotating cameras of Spinning Room place the viewer at the center of hypnotic environment whereas the moving walls and doors of Bang Bang Room collapse our notion of stable architectural space. In Madhouse the walls and chair spinning at varying speeds conjure a similar state of physical and mental disorientation. Chrissie Iles, Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art, discusses Paul McCarthy: Central Symmetrical Rotation Movement. This exhibition brings together a group of new and rarely seen works by Paul McCarthy (b. 1945), one of the most important American artists of his generation. The installations, films, photographs, and drawings on view focus on a central element of McCarthy's practice: the way the body is destabilized through dislocations of architectural space. The disorientation that threads though all of the works shown here is at once formal, corporeal, and psychological. The screens, projectors, and rotating cameras of Spinning Room place the viewer at the center of hypnotic environment whereas the moving walls and doors of Bang Bang Room collapse our notion of stable architectural space. In Madhouse the walls and chair spinning at varying speeds conjure a similar state of physical and mental disorientation. Chrissie Iles, Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art, discusses Paul McCarthy: Central Symmetrical Rotation Movement. This exhibition brings together a group of new and rarely seen works by Paul McCarthy (b. 1945), one of the most important American artists of his generation. The installations, films, photographs, and drawings on view focus on a central element of McCarthy's practice: the way the body is destabilized through dislocations of architectural space. The disorientation that threads though all of the works shown here is at once formal, corporeal, and psychological. The screens, projectors, and rotating cameras of Spinning Room place the viewer at the center of hypnotic environment whereas the moving walls and doors of Bang Bang Room collapse our notion of stable architectural space. In Madhouse the walls and chair spinning at varying speeds conjure a similar state of physical and mental disorientation. tag:odeo.com,2008-09-16,24201954 Tue, 16 Sep 2008 12:27:29 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/23229101-Buckminster-Fuller-Starting-with-the-Universe Co-curators Dana Miller and Michael Hays discuss Buckminster Fuller: Starting with the Universe, an exhibition featuring one of the great American visionaries of the twentieth century. Utilizing his doing "more with less" credo, Fuller's designs endeavored to benefit the largest portion of humanity while consuming the minimum amount of the earth's resources. This video presents four examples of Fuller's integrated approach to the design and technology of housing, transportation, and cartography--the Dymaxion House, ca. 1930, Dymaxion Transport Vehicle, ca.1933 , Wichita House, ca. 1945, and The Fuller Projection Map, ca. 1943. Co-curators Dana Miller and Michael Hays discuss Buckminster Fuller: Starting with the Universe, an exhibition featuring one of the great American visionaries of the twentieth century. Utilizing his doing "more with less" credo, Fuller's designs endeavored to benefit the largest portion of humanity while consuming the minimum amount of the earth's resources. This video presents four examples of Fuller's integrated approach to the design and technology of housing, transportation, and cartography--the Dymaxion House, ca. 1930, Dymaxion Transport Vehicle, ca.1933 , Wichita House, ca. 1945, and The Fuller Projection Map, ca. 1943. Co-curators Dana Miller and Michael Hays discuss Buckminster Fuller: Starting with the Universe, an exhibition featuring one of the great American visionaries of the twentieth century. Utilizing his doing "more with less" credo, Fuller's designs endeavored to benefit the largest portion of humanity while consuming the minimum amount of the earth's resources. This video presents four examples of Fuller's integrated approach to the design and technology of housing, transportation, and cartography--the Dymaxion House, ca. 1930, Dymaxion Transport Vehicle, ca.1933 , Wichita House, ca. 1945, and The Fuller Projection Map, ca. 1943. tag:odeo.com,2008-08-29,23229101 Fri, 29 Aug 2008 12:24:03 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201955-Buckminster-Fuller-Starting-with-the-Universe Co-curators Dana Miller and Michael Hays discuss Buckminster Fuller: Starting with the Universe, an exhibition featuring one of the great American visionaries of the twentieth century. Utilizing his doing "more with less" credo, Fuller's designs endeavored to benefit the largest portion of humanity while consuming the minimum amount of the earth's resources. This video presents four examples of Fuller's integrated approach to the design and technology of housing, transportation, and cartography--the Dymaxion House, ca. 1930, Dymaxion Transport Vehicle, ca.1933 , Wichita House, ca. 1945, and The Fuller Projection Map, ca. 1943. Co-curators Dana Miller and Michael Hays discuss Buckminster Fuller: Starting with the Universe, an exhibition featuring one of the great American visionaries of the twentieth century. Utilizing his doing "more with less" credo, Fuller's designs endeavored to benefit the largest portion of humanity while consuming the minimum amount of the earth's resources. This video presents four examples of Fuller's integrated approach to the design and technology of housing, transportation, and cartography--the Dymaxion House, ca. 1930, Dymaxion Transport Vehicle, ca.1933 , Wichita House, ca. 1945, and The Fuller Projection Map, ca. 1943. Co-curators Dana Miller and Michael Hays discuss Buckminster Fuller: Starting with the Universe, an exhibition featuring one of the great American visionaries of the twentieth century. Utilizing his doing "more with less" credo, Fuller's designs endeavored to benefit the largest portion of humanity while consuming the minimum amount of the earth's resources. This video presents four examples of Fuller's integrated approach to the design and technology of housing, transportation, and cartography--the Dymaxion House, ca. 1930, Dymaxion Transport Vehicle, ca.1933 , Wichita House, ca. 1945, and The Fuller Projection Map, ca. 1943. tag:odeo.com,2008-08-29,24201955 Fri, 29 Aug 2008 12:24:03 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/23088428-Paul-McCarthy-Central-Symmetrical-Rotation-Movement-Three-Installations-Two-Films Chrissie Iles, Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art, discusses Paul McCarthy: Central Symmetrical Rotation Movement. This exhibition brings together a group of new and rarely seen works by Paul McCarthy (b. 1945), one of the most important American artists of his generation. The installations, films, photographs, and drawings on view focus on a central element of McCarthy's practice: the way the body is destabilized through dislocations of architectural space. The disorientation that threads though all of the works shown here is at once formal, corporeal, and psychological. The screens, projectors, and rotating cameras of Spinning Room place the viewer at the center of hypnotic environment whereas the moving walls and doors of Bang Bang Room collapse our notion of stable architectural space. In Madhouse the walls and chair spinning at varying speeds conjure a similar state of physical and mental disorientation. Chrissie Iles, Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art, discusses Paul McCarthy: Central Symmetrical Rotation Movement. This exhibition brings together a group of new and rarely seen works by Paul McCarthy (b. 1945), one of the most important American artists of his generation. The installations, films, photographs, and drawings on view focus on a central element of McCarthy's practice: the way the body is destabilized through dislocations of architectural space. The disorientation that threads though all of the works shown here is at once formal, corporeal, and psychological. The screens, projectors, and rotating cameras of Spinning Room place the viewer at the center of hypnotic environment whereas the moving walls and doors of Bang Bang Room collapse our notion of stable architectural space. In Madhouse the walls and chair spinning at varying speeds conjure a similar state of physical and mental disorientation. Chrissie Iles, Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art, discusses Paul McCarthy: Central Symmetrical Rotation Movement. This exhibition brings together a group of new and rarely seen works by Paul McCarthy (b. 1945), one of the most important American artists of his generation. The installations, films, photographs, and drawings on view focus on a central element of McCarthy's practice: the way the body is destabilized through dislocations of architectural space. The disorientation that threads though all of the works shown here is at once formal, corporeal, and psychological. The screens, projectors, and rotating cameras of Spinning Room place the viewer at the center of hypnotic environment whereas the moving walls and doors of Bang Bang Room collapse our notion of stable architectural space. In Madhouse the walls and chair spinning at varying speeds conjure a similar state of physical and mental disorientation. tag:odeo.com,2008-07-17,23088428 Thu, 17 Jul 2008 09:25:06 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/22520683-Omer-Fast-2008-Whitney-Biennial Omer Fast, winner of the 2008 Bucksbaum Award, discusses his 2008 Whitney Biennial work, "The Casting" (2007), a four-channel video featuring a young American army sergeant who recounts two stories--which seem to be his own anguished memories--one about dating a woman while stationed in Germany, and the other of accidentally killing a civilian in Iraq. Omer Fast, winner of the 2008 Bucksbaum Award, discusses his 2008 Whitney Biennial work, "The Casting" (2007), a four-channel video featuring a young American army sergeant who recounts two stories--which seem to be his own anguished memories--one about dating a woman while stationed in Germany, and the other of accidentally killing a civilian in Iraq. Omer Fast, winner of the 2008 Bucksbaum Award, discusses his 2008 Whitney Biennial work, "The Casting" (2007), a four-channel video featuring a young American army sergeant who recounts two stories--which seem to be his own anguished memories--one about dating a woman while stationed in Germany, and the other of accidentally killing a civilian in Iraq. tag:odeo.com,2008-05-16,22520683 Fri, 16 May 2008 09:45:15 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201956-Omer-Fast-2008-Whitney-Biennial Omer Fast, winner of the 2008 Bucksbaum Award, discusses his 2008 Whitney Biennial work, "The Casting" (2007), a four-channel video featuring a young American army sergeant who recounts two stories--which seem to be his own anguished memories--one about dating a woman while stationed in Germany, and the other of accidentally killing a civilian in Iraq. Omer Fast, winner of the 2008 Bucksbaum Award, discusses his 2008 Whitney Biennial work, "The Casting" (2007), a four-channel video featuring a young American army sergeant who recounts two stories--which seem to be his own anguished memories--one about dating a woman while stationed in Germany, and the other of accidentally killing a civilian in Iraq. Omer Fast, winner of the 2008 Bucksbaum Award, discusses his 2008 Whitney Biennial work, "The Casting" (2007), a four-channel video featuring a young American army sergeant who recounts two stories--which seem to be his own anguished memories--one about dating a woman while stationed in Germany, and the other of accidentally killing a civilian in Iraq. tag:odeo.com,2008-05-16,24201956 Fri, 16 May 2008 09:45:15 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/22482509-Lisa-Sigal-2008-Whitney-Biennial Artist Lisa Sigal talks about her 2008 Whitney Biennial work, "The Day before Yesterday and the Day after Tomorrow--a "painting of a painting" that extends throughout the museum. Artist Lisa Sigal talks about her 2008 Whitney Biennial work, "The Day before Yesterday and the Day after Tomorrow--a "painting of a painting" that extends throughout the museum. Artist Lisa Sigal talks about her 2008 Whitney Biennial work, "The Day before Yesterday and the Day after Tomorrow--a "painting of a painting" that extends throughout the museum. tag:odeo.com,2008-04-10,22482509 Thu, 10 Apr 2008 19:41:12 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201957-Lisa-Sigal-2008-Whitney-Biennial Artist Lisa Sigal talks about her 2008 Whitney Biennial work, "The Day before Yesterday and the Day after Tomorrow--a "painting of a painting" that extends throughout the museum. Artist Lisa Sigal talks about her 2008 Whitney Biennial work, "The Day before Yesterday and the Day after Tomorrow--a "painting of a painting" that extends throughout the museum. Artist Lisa Sigal talks about her 2008 Whitney Biennial work, "The Day before Yesterday and the Day after Tomorrow--a "painting of a painting" that extends throughout the museum. tag:odeo.com,2008-04-10,24201957 Thu, 10 Apr 2008 19:41:12 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/22482510-Curators-Henriette-Huldisch-and-Shamim-M-Momin-2008-Whitney-Biennial 2008 Whitney Biennial Curators Henriette Huldisch and Shamim M. Momin share some of their ideas and insights about the process of putting together the exhibition. 2008 Whitney Biennial Curators Henriette Huldisch and Shamim M. Momin share some of their ideas and insights about the process of putting together the exhibition. 2008 Whitney Biennial Curators Henriette Huldisch and Shamim M. Momin share some of their ideas and insights about the process of putting together the exhibition. tag:odeo.com,2008-04-10,22482510 Thu, 10 Apr 2008 13:51:07 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201958-Curators-Henriette-Huldisch-and-Shamim-M-Momin-2008-Whitney-Biennial 2008 Whitney Biennial Curators Henriette Huldisch and Shamim M. Momin share some of their ideas and insights about the process of putting together the exhibition. 2008 Whitney Biennial Curators Henriette Huldisch and Shamim M. Momin share some of their ideas and insights about the process of putting together the exhibition. 2008 Whitney Biennial Curators Henriette Huldisch and Shamim M. Momin share some of their ideas and insights about the process of putting together the exhibition. tag:odeo.com,2008-04-10,24201958 Thu, 10 Apr 2008 13:51:07 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/22482516-Neighborhood-public-Radio-NPR-2008-Whitney-Biennial Watch Neighborhood Public Radio (NPR)'s radio broadcast with James Chimpton, a robotic chimpanzee who conducts interviews with artists. During the 2008 Whitney Biennial, NPR is hosting live radio broadcasts next door to the Museum. The public is invited to stop by and contribute to NPR's multifaceted notion of what constitutes a community. Watch Neighborhood Public Radio (NPR)'s radio broadcast with James Chimpton, a robotic chimpanzee who conducts interviews with artists. During the 2008 Whitney Biennial, NPR is hosting live radio broadcasts next door to the Museum. The public is invited to stop by and contribute to NPR's multifaceted notion of what constitutes a community. Watch Neighborhood Public Radio (NPR)'s radio broadcast with James Chimpton, a robotic chimpanzee who conducts interviews with artists. During the 2008 Whitney Biennial, NPR is hosting live radio broadcasts next door to the Museum. The public is invited to stop by and contribute to NPR's multifaceted notion of what constitutes a community. tag:odeo.com,2008-04-07,22482516 Mon, 07 Apr 2008 20:44:58 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201959-Neighborhood-public-Radio-NPR-2008-Whitney-Biennial Watch Neighborhood Public Radio (NPR)'s radio broadcast with James Chimpton, a robotic chimpanzee who conducts interviews with artists. During the 2008 Whitney Biennial, NPR is hosting live radio broadcasts next door to the Museum. The public is invited to stop by and contribute to NPR's multifaceted notion of what constitutes a community. Watch Neighborhood Public Radio (NPR)'s radio broadcast with James Chimpton, a robotic chimpanzee who conducts interviews with artists. During the 2008 Whitney Biennial, NPR is hosting live radio broadcasts next door to the Museum. The public is invited to stop by and contribute to NPR's multifaceted notion of what constitutes a community. Watch Neighborhood Public Radio (NPR)'s radio broadcast with James Chimpton, a robotic chimpanzee who conducts interviews with artists. During the 2008 Whitney Biennial, NPR is hosting live radio broadcasts next door to the Museum. The public is invited to stop by and contribute to NPR's multifaceted notion of what constitutes a community. tag:odeo.com,2008-04-07,24201959 Mon, 07 Apr 2008 20:44:58 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/22482517-Walead-Beshty-2008-Whitney-Biennial 2008 Whitney Biennial artist Walead Beshty discusses his photographs of the former Iraqi embassy to the former East Germany (two nations that no longer exist) and the complex ideas behind them. He also explains why his glass sculptures have acquired multiple cracks and fissures. 2008 Whitney Biennial artist Walead Beshty discusses his photographs of the former Iraqi embassy to the former East Germany (two nations that no longer exist) and the complex ideas behind them. He also explains why his glass sculptures have acquired multiple cracks and fissures. 2008 Whitney Biennial artist Walead Beshty discusses his photographs of the former Iraqi embassy to the former East Germany (two nations that no longer exist) and the complex ideas behind them. He also explains why his glass sculptures have acquired multiple cracks and fissures. tag:odeo.com,2008-04-07,22482517 Mon, 07 Apr 2008 20:32:56 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201960-Walead-Beshty-2008-Whitney-Biennial 2008 Whitney Biennial artist Walead Beshty discusses his photographs of the former Iraqi embassy to the former East Germany (two nations that no longer exist) and the complex ideas behind them. He also explains why his glass sculptures have acquired multiple cracks and fissures. 2008 Whitney Biennial artist Walead Beshty discusses his photographs of the former Iraqi embassy to the former East Germany (two nations that no longer exist) and the complex ideas behind them. He also explains why his glass sculptures have acquired multiple cracks and fissures. 2008 Whitney Biennial artist Walead Beshty discusses his photographs of the former Iraqi embassy to the former East Germany (two nations that no longer exist) and the complex ideas behind them. He also explains why his glass sculptures have acquired multiple cracks and fissures. tag:odeo.com,2008-04-07,24201960 Mon, 07 Apr 2008 20:32:56 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/22482524-Bert-Rodriguez-2008-Whitney-Biennial Bert Rodriguez reveals what goes on inside the "white cube" of his 2008 Whitney Biennial installation in the Park Avenue Armory. Rodriguez explains how and why he offers visitors free therapy sessions. Bert Rodriguez reveals what goes on inside the "white cube" of his 2008 Whitney Biennial installation in the Park Avenue Armory. Rodriguez explains how and why he offers visitors free therapy sessions. Bert Rodriguez reveals what goes on inside the "white cube" of his 2008 Whitney Biennial installation in the Park Avenue Armory. Rodriguez explains how and why he offers visitors free therapy sessions. tag:odeo.com,2008-04-07,22482524 Mon, 07 Apr 2008 20:22:10 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201961-Bert-Rodriguez-2008-Whitney-Biennial Bert Rodriguez reveals what goes on inside the "white cube" of his 2008 Whitney Biennial installation in the Park Avenue Armory. Rodriguez explains how and why he offers visitors free therapy sessions. Bert Rodriguez reveals what goes on inside the "white cube" of his 2008 Whitney Biennial installation in the Park Avenue Armory. Rodriguez explains how and why he offers visitors free therapy sessions. Bert Rodriguez reveals what goes on inside the "white cube" of his 2008 Whitney Biennial installation in the Park Avenue Armory. Rodriguez explains how and why he offers visitors free therapy sessions. tag:odeo.com,2008-04-07,24201961 Mon, 07 Apr 2008 20:22:10 -0700 no Whitney Focus art Artists art museum whitney biennial curators http://www.odeo.com/episodes/22482527-Ellen-Harvey-2008-Whitney-Biennial Ellen Harvey introduces her "Museum of Failure," a new installation for the 2008 Whitney Biennial consisting of an illuminated lightbox and large painting depicting a wall of mirrored frames. She discusses the "impossibility" of self-portraiture and political subject matter in relation to this work. Ellen Harvey introduces her "Museum of Failure," a new installation for the 2008 Whitney Biennial consisting of an illuminated lightbox and large painting depicting a wall of mirrored frames. She discusses the "impossibility" of self-portraiture and political subject matter in relation to this work. Ellen Harvey introduces her "Museum of Failure," a new installation for the 2008 Whitney Biennial consisting of an illuminated lightbox and large painting depicting a wall of mirrored frames. She discusses the "impossibility" of self-portraiture and political subject matter in relation to this work. tag:odeo.com,2008-04-04,22482527 Fri, 04 Apr 2008 07:06:43 -0700 no Whitney Focus art, museum, whitney, biennial Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201962-Ellen-Harvey-2008-Whitney-Biennial Ellen Harvey introduces her "Museum of Failure," a new installation for the 2008 Whitney Biennial consisting of an illuminated lightbox and large painting depicting a wall of mirrored frames. She discusses the "impossibility" of self-portraiture and political subject matter in relation to this work. Ellen Harvey introduces her "Museum of Failure," a new installation for the 2008 Whitney Biennial consisting of an illuminated lightbox and large painting depicting a wall of mirrored frames. She discusses the "impossibility" of self-portraiture and political subject matter in relation to this work. Ellen Harvey introduces her "Museum of Failure," a new installation for the 2008 Whitney Biennial consisting of an illuminated lightbox and large painting depicting a wall of mirrored frames. She discusses the "impossibility" of self-portraiture and political subject matter in relation to this work. tag:odeo.com,2008-04-04,24201962 Fri, 04 Apr 2008 07:06:43 -0700 no Whitney Focus art, museum, whitney, biennial Artists art museum whitney biennial curators http://www.odeo.com/episodes/22482530-Fritz-Haeg-2008-Whitney-Biennial Artist Fritz Haeg's project for the 2008 Whitney Biennial is "Animal Estates 1.0: New York, New York." The project consists of model homes for animals (including the Beaver, Bald Eagle, and the Mason Bee among others) that once lived in the vicinity of the Whitney Museum 400 years ago. Artist Fritz Haeg's project for the 2008 Whitney Biennial is "Animal Estates 1.0: New York, New York." The project consists of model homes for animals (including the Beaver, Bald Eagle, and the Mason Bee among others) that once lived in the vicinity of the Whitney Museum 400 years ago. Artist Fritz Haeg's project for the 2008 Whitney Biennial is "Animal Estates 1.0: New York, New York." The project consists of model homes for animals (including the Beaver, Bald Eagle, and the Mason Bee among others) that once lived in the vicinity of the Whitney Museum 400 years ago. tag:odeo.com,2008-04-04,22482530 Fri, 04 Apr 2008 07:04:44 -0700 no Whitney Focus art, museum, whitney, biennial Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201963-Fritz-Haeg-2008-Whitney-Biennial Artist Fritz Haeg's project for the 2008 Whitney Biennial is "Animal Estates 1.0: New York, New York." The project consists of model homes for animals (including the Beaver, Bald Eagle, and the Mason Bee among others) that once lived in the vicinity of the Whitney Museum 400 years ago. Artist Fritz Haeg's project for the 2008 Whitney Biennial is "Animal Estates 1.0: New York, New York." The project consists of model homes for animals (including the Beaver, Bald Eagle, and the Mason Bee among others) that once lived in the vicinity of the Whitney Museum 400 years ago. Artist Fritz Haeg's project for the 2008 Whitney Biennial is "Animal Estates 1.0: New York, New York." The project consists of model homes for animals (including the Beaver, Bald Eagle, and the Mason Bee among others) that once lived in the vicinity of the Whitney Museum 400 years ago. tag:odeo.com,2008-04-04,24201963 Fri, 04 Apr 2008 07:04:44 -0700 no Whitney Focus art, museum, whitney, biennial Artists art museum whitney biennial curators http://www.odeo.com/episodes/22482533-Charles-Long-2008-Whitney-Biennial Walks along the L.A. River Basin inspired artist Charles Long's installation of sculptures and photographs in the 2008 Whitney Biennial. His commentary details the rich birdlife he found there and describes how he uses materials from the river to make his sculptures. Walks along the L.A. River Basin inspired artist Charles Long's installation of sculptures and photographs in the 2008 Whitney Biennial. His commentary details the rich birdlife he found there and describes how he uses materials from the river to make his sculptures. Walks along the L.A. River Basin inspired artist Charles Long's installation of sculptures and photographs in the 2008 Whitney Biennial. His commentary details the rich birdlife he found there and describes how he uses materials from the river to make his sculptures. tag:odeo.com,2008-04-04,22482533 Fri, 04 Apr 2008 07:03:15 -0700 no Whitney Focus art, museum, whitney, biennial Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201964-Charles-Long-2008-Whitney-Biennial Walks along the L.A. River Basin inspired artist Charles Long's installation of sculptures and photographs in the 2008 Whitney Biennial. His commentary details the rich birdlife he found there and describes how he uses materials from the river to make his sculptures. Walks along the L.A. River Basin inspired artist Charles Long's installation of sculptures and photographs in the 2008 Whitney Biennial. His commentary details the rich birdlife he found there and describes how he uses materials from the river to make his sculptures. Walks along the L.A. River Basin inspired artist Charles Long's installation of sculptures and photographs in the 2008 Whitney Biennial. His commentary details the rich birdlife he found there and describes how he uses materials from the river to make his sculptures. tag:odeo.com,2008-04-04,24201964 Fri, 04 Apr 2008 07:03:15 -0700 no Whitney Focus art, museum, whitney, biennial Artists art museum whitney biennial curators http://www.odeo.com/episodes/22482536-MK-Guth-2008-Whitney-Biennial For the 2008 Biennial artist, MK Guth created a participatory artwork called "Ties of Protection and Safekeeping." She invites visitors to the Park Avenue Armory to answer the question "What is Worth Protecting?" Visitors write their answers on strips of red flannel cloth which MK Guth weaves into a long braid that grows longer every day. For the 2008 Biennial artist, MK Guth created a participatory artwork called "Ties of Protection and Safekeeping." She invites visitors to the Park Avenue Armory to answer the question "What is Worth Protecting?" Visitors write their answers on strips of red flannel cloth which MK Guth weaves into a long braid that grows longer every day. For the 2008 Biennial artist, MK Guth created a participatory artwork called "Ties of Protection and Safekeeping." She invites visitors to the Park Avenue Armory to answer the question "What is Worth Protecting?" Visitors write their answers on strips of red flannel cloth which MK Guth weaves into a long braid that grows longer every day. tag:odeo.com,2008-04-04,22482536 Fri, 04 Apr 2008 07:01:29 -0700 no Whitney Focus art, museum, whitney, biennial Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201965-MK-Guth-2008-Whitney-Biennial For the 2008 Biennial artist, MK Guth created a participatory artwork called "Ties of Protection and Safekeeping." She invites visitors to the Park Avenue Armory to answer the question "What is Worth Protecting?" Visitors write their answers on strips of red flannel cloth which MK Guth weaves into a long braid that grows longer every day. For the 2008 Biennial artist, MK Guth created a participatory artwork called "Ties of Protection and Safekeeping." She invites visitors to the Park Avenue Armory to answer the question "What is Worth Protecting?" Visitors write their answers on strips of red flannel cloth which MK Guth weaves into a long braid that grows longer every day. For the 2008 Biennial artist, MK Guth created a participatory artwork called "Ties of Protection and Safekeeping." She invites visitors to the Park Avenue Armory to answer the question "What is Worth Protecting?" Visitors write their answers on strips of red flannel cloth which MK Guth weaves into a long braid that grows longer every day. tag:odeo.com,2008-04-04,24201965 Fri, 04 Apr 2008 07:01:29 -0700 no Whitney Focus art, museum, whitney, biennial Artists art museum whitney biennial curators http://www.odeo.com/episodes/22482551-Jedediah-Caesar-2008-Whitney-Biennial 2008 Whitney Biennial artist Jedediah Caesar describes how he created his sculpture "Helium Brick aka Summer Snow" from a block of industrial Styrofoam covered with layers of colored resin. 2008 Whitney Biennial artist Jedediah Caesar describes how he created his sculpture "Helium Brick aka Summer Snow" from a block of industrial Styrofoam covered with layers of colored resin. 2008 Whitney Biennial artist Jedediah Caesar describes how he created his sculpture "Helium Brick aka Summer Snow" from a block of industrial Styrofoam covered with layers of colored resin. tag:odeo.com,2008-04-04,22482551 Fri, 04 Apr 2008 07:00:01 -0700 no Whitney Focus art, museum, whitney, biennial Artists art museum whitney biennial curators http://www.odeo.com/episodes/24201966-Jedediah-Caesar-2008-Whitney-Biennial 2008 Whitney Biennial artist Jedediah Caesar describes how he created his sculpture "Helium Brick aka Summer Snow" from a block of industrial Styrofoam covered with layers of colored resin. 2008 Whitney Biennial artist Jedediah Caesar describes how he created his sculpture "Helium Brick aka Summer Snow" from a block of industrial Styrofoam covered with layers of colored resin. 2008 Whitney Biennial artist Jedediah Caesar describes how he created his sculpture "Helium Brick aka Summer Snow" from a block of industrial Styrofoam covered with layers of colored resin. tag:odeo.com,2008-04-04,24201966 Fri, 04 Apr 2008 07:00:01 -0700 no Whitney Focus art, museum, whitney, biennial Artists art museum whitney biennial curators