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Recorded: Tuesday, Dec. 13, 2012, at the Art Gallery of Ontario
Josef Sudek is regarded as one of the most legendary photographers from the 20th century and is best known for his compelling photographs of Prague. In this talk, AGO Next Members heard from AGO curator of photography Maia Sutnik and Stephen Bulger — owner of Toronto’s Stephen Bulger Gallery — about this visionary artist before viewing more than 175 photographs selected from the AGO’s Collection that span Sudek’s entire career.
Recorded: Jan. 9, 2013 in Jackman Hall, Art Gallery of Ontario
Mauricio Toussaint, Consul General of Mexico in Toronto, and Dot Tuer, guest curator of Frida & Diego: Passion, Politics and Painting at the AGO, introduce a free screening of the 1983 Mexican film Frida, Naturaleza Viva (1983), directed by Paul Leduc with Ofelia Medina as Frida and painter Juan José Gurrola as Diego. They discuss the artists and their iconic status and how the film represents their lives, their time and their art. The recording ends with a Q&A with the audience.
Recorded: Dec. 6, 2012, in the The Anne Tanenbaum Gallery School, Art Gallery of Ontario
In this talk, Hayden Herrera interweaves Kahlo’s biography and her painting. She discusses Kahlo’s turning to painting after her bus accident at age 18, her difficult marriage to muralist Diego Rivera and its effect on her imagery, her childlessness and her numerous surgical operations and how she dealt with them in her self-portraits.
Hayden Herrera is an art historian and biographer of Frida Kahlo. She has lectured widely, curated several exhibitions of art, taught Latin American art at New York University and has been awarded a Guggenheim Fellowship. Her books include Frida: A Biography of Frida Kahlo; Mary Frank; and Matisse: A Portrait. She is working on a critical biography of Isamu Noguchi. She lives in New York City.
Recorded: Thursday, November 8, 2012, at 12 pm in Baillie Court
Camille Paglia is university professor of humanities and media studies at the University of the Arts in Philadelphia and the author of many books. In her latest book, Glittering Images: A Journey Through Art from Egypt to Star Wars, Paglia leads us chronologically through the paintings, sculptures, architectural styles, performance pieces and digital art that have defined and transformed our visual world. Passionately argued and with Paglia’s trademark audacity, Glittering Images is destined to change the way we think about our visual environment in this high-tech age. A book signing with the author followed the talk.
The Brown Bag Lunch & Talk series is generously supported by
Recorded: Wednesday, November 14, 7 pm in Jackman Hall
The rise of Asia on the international scene is one of the most compelling stories in contemporary art. Provocative artworks command ever-higher prices as markets expand, and impressive new museums, schools and biennials continue to proliferate. Hong Kong, Singapore, Dubai, Tokyo and Beijing have established themselves as major art-world hubs, competing directly with London and New York. In order to understand this phenomenon and its connection to global movements of economic and political power, the Asia Contemporary Speaker Series presented a talk by Vishakha Desai. Desai is an art historian and senior advisor of Global Policy and Programs at the Guggenheim Foundation and past president and CEO of the Asia Society. Desai’s lecture launched the Asia Contemporary Speaker Series, presented in cities across Canada by the Canadian Art Foundation International Speaker Series, in collaboration with the Asia Pacific Foundation of Canada’s National Conversation on Asia.
Vishakha Desai’s curatorial work on such groundbreaking exhibitions as Contemporary Art in Asia: Traditions/Tensions; Inside Out and New Chinese Art established her as an influential and respected voice. These exhibitions were landmarks in bringing contemporary Asian art into a global dialogue.
The talk was presented in partnership with the Canadian Art Foundation and the Asia Pacific Foundation of Canada
From left to right: Emmanuelle Léonard (Canada), Citizens, Protest, March 15, 2009, #5137 (detail), 2009. Inkjet print, 102 x 90 cm. Annie MacDonell, The present is the future of the past and the past of the future (The Fortune Teller) (detail), 2012, 16″ x 12″, chromogenic print. Jason Evans, Untitled (detail), from The Daily Nice, 2004–ongoing. Online project, dimensions variable. Jo Longhurst (UK), I Know What You’re Thinking (detail), 2003. Chromogenic print, 101.6 x 76 cm.
This year’s nominated artists share a fascination with the world of images that surround, and often bombard, us every day. Taking on everything from fashion editorial and sports photography to found objects and crime-scene documentation, by appropriating existing images, placing familiar genres in new contexts, and pushing the photographic print into the three-dimensional realm, these nominees reinvigorate our relationship with photography. In this discussion, The Grange Prize 2012 shortlisted artists chatted with members of jury about the provocative issues and topics their works traverse.
Friday, September 7, 3 – 6 pm
in the Dr. Anne Tanenbaum Gallery School
in the Weston Family Learning Centre at the AGO
Session 1: Photography’s Dimensions
3 – 4:15 pm
Click to play:
Moderated by: Dr. Gaëlle Morel, Curator, Ryerson Image Centre
Panelists: Sara Knelman, Annie MacDonell, Jo Longhurst
Since the 1970s, in the wake of post-modernism’s questioning of the photographic image, many contemporary photography artists have worked with spaces of display – studio, gallery, cinema – and their conventions – both past and present – as they push two-dimensional images into the three-dimensional realm. How can we make sense of these expanded dimensions of the image?
Session 2: Photography’s Contexts
4:45 – 6 pm
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Moderated by: Sophie Hackett, Lead Juror and Assistant Curator, Photography, AGO
Panelists: Charlotte Cotton, Emmanuelle Léonard, Jason Evans
The photographic images we encounter on a daily basis circulate in the press, on billboards, posters, postcards and online. They teach us, for instance, about fashion, crime, what’s beautiful and what isn’t. How do contemporary photographers today make use of different contexts and modes of circulation to reinvent how we understand photographs?
Molly Ott Ambler and Elizabeth Gorayeb
Recorded on Wednesday, June 6, 7 p.m. in Jackman Hall
Molly Ott Ambler and Elizabeth Gorayeb, vice-presidents from Sotheby’s New York, visited the AGO on June 6 for a fascinating discussion about the intriguing world of the art market for Pablo Picasso while he was alive, as well as his relationship with his dealers. They also addressed the current market for Picasso’s work. Ms. Ott Ambler, as director of Day Sales and in her 15 years at Sotheby’s, has been privileged to handle Picasso’s works from every period and in every medium, from delicate pencil drawings to unique terracotta hand-painted owls. Ms. Gorayeb has been involved with many record breaking sales including Picasso’s Homme á la pipe.
Robert Wilson, Philip Glass, and Lucinda Childs in conversation
Recorded on Wednesday, June 6, at 7 p.m. in Baillie Court
Visual artist and director Robert Wilson and composer Philip Glass broke all the rules of conventional opera when, in 1976, they created Einstein on the Beach, the influential masterwork that brought them international renown. It is a stunning five-hour fusion of sound, image and movement that, in the words of the Washington Post, “seduces the viewer into an immense, imagined universe of its own.” Lucinda Childs danced in the ’76 production and has contributed to the choreography of every subsequent iteration.
In advance of an international tour, these three legendary artists—all now in their seventies—united for a roundtable discussion moderated by Luminato artistic director Jorn Weisbrodt about the creation and evolution of their groundbreaking work and its North American premiere at Luminato.
Pablo Picasso (Spanish, 1881-1973), Portrait of Dora Maar, 1937. Oil on canvas 92 x 65 cm Musée National Picasso, Paris Pablo Picasso gift-in-lieu, 1979, MP158 (C) Succession Picasso, 2011 (C) RMN / Jean-Gilles Berizzi
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Recorded: Wednesday, May 9, 7 pm in Jackman Hall
During the early years of the twentieth century a new form of painting was born. This was not a further resolution of the aesthetic conundrum that had been teasing European artists for centuries – this wasn’t an evolutionary step that took us closer to understanding the mechanics of paint and canvas – this was the establishment of a new kind of aesthetic aim. This is the beginning of a radical change in pre-war cultural trajectory, an unstoppable revolution that defined post-war popular culture, and continues to inform the arts. It was a shift that found its most dramatic form in the work of Pablo Picasso, but was triggered and inspired by the art of Africa.