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Welcome to The Lonely Palette, the podcast that returns art history to the masses, one painting at a time. 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. For more information, visit thelonelypalette.com | Twitter @lonelypalette | Instagram @thelonelypalette.
Welcome to The Lonely Palette, the podcast that returns art history to the masses, one painting at a time. 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. For more information, visit thelonelypalette.com | Twitter @lonelypalette | Instagram @thelonelypalette.
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Here's a quick summary of the last 4 episodes on The Lonely Palette.
Hosts
Tamar Avishai
Previous Guests
Yee Sookyung
Yee Sookyung is a contemporary South Korean artist known for her innovative work with ceramics, particularly her use of shattered porcelain. Her art often explores themes of vulnerability, resilience, and the beauty of imperfection. Sookyung's work has been exhibited internationally, and she is recognized for her unique approach to reconstructing and reinterpreting traditional ceramic techniques.
Yee Sookyung is a contemporary South Korean artist known for her innovative work with ceramics, particularly her use of shattered porcelain. Her art often explores themes of vulnerability, resilience, and the beauty of imperfection. Sookyung's work has been exhibited internationally, and she is recognized for her unique approach to reconstructing and reinterpreting traditional ceramic techniques.
Annea Lockwood
Annea Lockwood is a renowned artist and composer known for her innovative approach to sound and music. Born in New Zealand, she gained prominence in the 1960s for her unique performances that often involve the use of unconventional instruments, including burning pianos. Lockwood's work explores the relationship between sound and the environment, as exemplified in her recent series 'Sound Maps,' where she captures the tonal qualities of various natural elements, such as rivers and fire. Her artistic practice emphasizes the physical and emotional responses to sound, making her a significant figure in the field of sound art.
Annea Lockwood is a renowned artist and composer known for her innovative approach to sound and music. Born in New Zealand, she gained prominence in the 1960s for her unique performances that often involve the use of unconventional instruments, including burning pianos. Lockwood's work explores the relationship between sound and the environment, as exemplified in her recent series 'Sound Maps,' where she captures the tonal qualities of various natural elements, such as rivers and fire. Her artistic practice emphasizes the physical and emotional responses to sound, making her a significant figure in the field of sound art.
Sebastian Smee
Sebastian Smee has been the art critic for The Washington Post since 2018. He has written extensively about art for various publications, both in the United States and his native Australia. Smee is a Pulitzer Prize-winning critic known for his engaging prose and deep love for art. His latest book, 'Paris in Ruins: Love, War, and the Birth of Impressionism,' explores the connections between historical moments and artistic movements, reflecting on how art can illuminate our understanding of life.
Sebastian Smee has been the art critic for The Washington Post since 2018. He has written extensively about art for various publications, both in the United States and his native Australia. Smee is a Pulitzer Prize-winning critic known for his engaging prose and deep love for art. His latest book, 'Paris in Ruins: Love, War, and the Birth of Impressionism,' explores the connections between historical moments and artistic movements, reflecting on how art can illuminate our understanding of life.
Topics Discussed
Yee Sookyung
Translated Vase
shattered porcelain
vulnerability
human resilience
art history
Annea Lockwood
sound art
music
performance art
Sound Maps
listening
musical training
New Zealand artist
burning pianos
Felix Gonzalez-Torres
AIDS crisis
memorial
loss
healing
Cuban-American artist
art
Sebastian Smee
Washington Post
Paris in Ruins
Impressionism
art criticism
life and art connection
Here's the recent few episodes on The Lonely Palette.
0:0023:40
Ep. 69 - Yee Sookyung's "Translated Vase" (2011)
Hosts
Hosts of this podcast episode
Tamar Avishai
Guests
Guests of this podcast episode
Yee Sookyung
Keywords
Keywords of this podcast episode
Yee SookyungTranslated Vaseshattered porcelainvulnerabilityhuman resilienceart history
“It is not about fixing or mending, but about celebrating the vulnerability of the object and ultimately myself.” - Yee Sookyung
Shattered porcelain is impossible to repair. As impossible as fully, and accurately, reconstructing the past. But who needs that pressure? What if, instead of tossing those shards in the dustbin of history, we acknowledged that the thing will never be what it once was? Maybe then we appreciate the beauty, and the human resilience, of what new things it could be, in the now.
“It is not about fixing or mending, but about celebrating the vulnerability of the object and ultimately myself.” - Yee Sookyung
Shattered porcelain is impossible to repair. As impossible as fully, and accurately, reconstructing the past. But who needs that pressure? What if, instead of tossing those shards in the dustbin of history, we acknowledged that the thing will never be what it once was? Maybe then we appreciate the beauty, and the human resilience, of what new things it could be, in the now.
"It's the close focus that draws me into a sound. And then it sort of spreads out and spreads through my body. And I let that happen, and I'm listening in a different way." - Annea Lockwood
The artist and composer Annea Lockwood is not just any musician. She is an artist of sound. She is a composer of art. Her music is performance art, and her art is always, always audio-rich and musical. She sends her microphones into the elements – fire, here, and rivers, in a recent series called Sound Maps, where she captures, among other things, the tonality of the different depths of the water. She loves chanting, tones, drones. She loves what sound does to our body, how we respond to it, how we visualize it. How sound breathes. How we breathe differently around different sounds.
And for me, as an art historian who fell in love with sound, I get it. I think I get it. And this is what today’s conversation is about. Annea joined me to talk about what it means to listen with your body, to experience the silence in all the noise, and the noise in the silence. We talk about the value of musical training versus musical instinct. We talk about how rivers sound different from one another (they really do!). And we explore what an artist from New Zealand who gained prominence in the 1960s burning pianos can teach us about the art of sound, and what she can learn from her 85-year-old self, today.
"It's the close focus that draws me into a sound. And then it sort of spreads out and spreads through my body. And I let that happen, and I'm listening in a different way." - Annea Lockwood
The artist and composer Annea Lockwood is not just any musician. She is an artist of sound. She is a composer of art. Her music is performance art, and her art is always, always audio-rich and musical. She sends her microphones into the elements – fire, here, and rivers, in a recent series called Sound Maps, where she captures, among other things, the tonality of the different depths of the water. She loves chanting, tones, drones. She loves what sound does to our body, how we respond to it, how we visualize it. How sound breathes. How we breathe differently around different sounds.
And for me, as an art historian who fell in love with sound, I get it. I think I get it. And this is what today’s conversation is about. Annea joined me to talk about what it means to listen with your body, to experience the silence in all the noise, and the noise in the silence. We talk about the value of musical training versus musical instinct. We talk about how rivers sound different from one another (they really do!). And we explore what an artist from New Zealand who gained prominence in the 1960s burning pianos can teach us about the art of sound, and what she can learn from her 85-year-old self, today.
Ep. 68 - Felix Gonzalez-Torres' "Untitled (March 5th) #2" (1991)
Hosts
Hosts of this podcast episode
Tamar Avishai
Keywords
Keywords of this podcast episode
Felix Gonzalez-TorresAIDS crisismemoriallosshealingCuban-American artist
"The only thing permanent is change." - Felix Gonzalez-Torres
There is no way around it. The work of Felix Gonzalez-Torres, a gay, Cuban-American artist who responded to - and died during - the AIDS crisis of the 1980s and 90s, is sad. His work is a memorial, both to a lost generation and to his own partner, Ross. Yet it is through these seemingly banal, industrial, or every day materials, and the powerful metaphor that they represent, that we can best get to the root of what loss can mean. And, maybe, healing as well.
"The only thing permanent is change." - Felix Gonzalez-Torres
There is no way around it. The work of Felix Gonzalez-Torres, a gay, Cuban-American artist who responded to - and died during - the AIDS crisis of the 1980s and 90s, is sad. His work is a memorial, both to a lost generation and to his own partner, Ross. Yet it is through these seemingly banal, industrial, or every day materials, and the powerful metaphor that they represent, that we can best get to the root of what loss can mean. And, maybe, healing as well.
TLP Interview with Sebastian Smee, Art Critic, The Washington Post
Hosts
Hosts of this podcast episode
Tamar Avishai
Guests
Guests of this podcast episode
Sebastian Smee
Keywords
Keywords of this podcast episode
artSebastian SmeeWashington PostParis in RuinsImpressionismart criticismlife and art connection
“In the end, what interests me is the way art connects with life. Because otherwise, I don’t quite understand what it’s for.” - Sebastian Smee
Sebastian Smee has been the art critic for the Washington Post since 2018, but has written extensively about art for every publication you can think of, from here to his native Australia, and winning a Pulitzer prize for criticism along the way. Both his prose and his love of the work leaps off the page and into your lap, offering a guiding hand past the velvet rope, not just for his readers, but for himself: he’s a critic who is constantly looking inward, curious about his own responses to artworks, and what it can teach him about teaching us.
Sebastian joined me to discuss his latest book, “Paris in Ruins: Love, War, and the Birth of Impressionism,” as well as writers on writing, becoming an expert about a movement on deadline, how looking back at the muddiness of a historical moment can help us understand the muddiness of ours, and what happens when art critics are themselves at a loss for the words to express why they just love this or that painting so darn much.
“In the end, what interests me is the way art connects with life. Because otherwise, I don’t quite understand what it’s for.” - Sebastian Smee
Sebastian Smee has been the art critic for the Washington Post since 2018, but has written extensively about art for every publication you can think of, from here to his native Australia, and winning a Pulitzer prize for criticism along the way. Both his prose and his love of the work leaps off the page and into your lap, offering a guiding hand past the velvet rope, not just for his readers, but for himself: he’s a critic who is constantly looking inward, curious about his own responses to artworks, and what it can teach him about teaching us.
Sebastian joined me to discuss his latest book, “Paris in Ruins: Love, War, and the Birth of Impressionism,” as well as writers on writing, becoming an expert about a movement on deadline, how looking back at the muddiness of a historical moment can help us understand the muddiness of ours, and what happens when art critics are themselves at a loss for the words to express why they just love this or that painting so darn much.
