On this pod’s weekcast Iris Bernblum joins Brian and Ryan for an unadorned conversation about her current studio practice. Bernblum’s work explores an animalic kinship, navigating a longing for the unknowable natural world. The pair conjures a sensual environment by imbuing the space with scent, sound, and lush color. Her cross disciplinary practice includes watercolors, video and sculpture speaking to ideas around human desire to control and tame wild spaces.
Join us today on Bad at Sports for a special interview with artist Ashley Teamer. Teamer discusses her latest exhibition, Better Than Me, and her work documenting the female basketball team at Dillard University. We delve into Teamer’s aspirations and motivations fueling her work, which includes a new series of billboards featuring Dillard players that will be on view in New Orleans’ downtown during the 2020 NCAA Women’s Final Four in April.
You won’t want to miss this delightfully juicy and enlightening conversation with living legend and self-described “Black Hornet”, Howardena Pindell. On this episode, Dana travels to New York for a special interview with the well-known artist and activist, who joins Bad at Sports as the first major survey of her work, “Howardena Pindell: What Remains to be Seen” ends its multi-museum run at the Rose Art Museum this month. Pindell comments on a range of topics, from the inspiration behind some of her most famous works and her history of arts activism and advocacy, to her latest and upcoming art projects.
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Live from the patio of the Oakland Museum!
Artist, organizer, spiritualist Brett Cook enlightens us on the structure of dialogue and how we as artists can provide platforms for others. we also stared towards the negotiation of power relationships within the visual and the social. We also wrestle with how an audience can more completely understand artists and their production.
All of us struggle with validation in the context of separation and exclusion.
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Bad @ SportsCenter kicks back this week with Chicago painter, Susanne Doremus, for a delightful exchange over her current show at Devening Projects, Cabinet:1. In her newest exhibition, Doremus has drawn down the emblematic grand scale of her paintings, inaugurating new spaces for her visual lexicon of calligraphic line and exposed revisions. We visit the affinity of drawing and painting, the influence of teaching on studio practice, and the function of audience on the objet d’art.
