talks-erly

museum faces

goosebumps

lecture on music and art

Check out the full video of this lecture: http://win.gs/1llqxUO
More lecture videos from Red Bull Music Academy: http://win.gs/1nSnW1n

Cluster Lecture RBMA 2010

Check out the full video of this lecture: http://win.gs/1fvt4mU
More lecture videos from Red Bull Music Academy: http://win.gs/1nSnW1n

Philip Glass Lecture RBMA 2013

Check out the full video of this lecture: http://win.gs/OJ21zH
More lecture videos from Red Bull Music Academy: http://win.gs/1nSnW1n

Brian Eno Lecture RBMA 2013

This talk by long-time art critic for "The New Yorker" Peter Schjeldahl was presented on April 7, 2005, as part of SFMOMA’s Phyllis Wattis Distinguished Lecture Series in conjunction with the exhibition "Robert Bechtle: A Retrospective." Reflecting on Bechtle's use of photographs as the basis for his paintings, Schjeldahl remarks: "he takes something that has absolutely no intention—the light that hits a piece of film—and makes it be on purpose, specifies it and takes it visually to a level that you can’t get to in a photo." Schjeldahl also offers poetic meditations on the implications of photorealism, parallels between Bechtle's work and that of American realist painter Edward Hopper, and the place of painting in the history of narrative. 

SFMOMA has a rich history of inviting artists, curators, and scholars to participate in live programming. While our building is closed for expansion we will be bringing you artist talks, scholarly lectures, and panel discussions that have not been heard since they were recorded. We look forward to sharing our vast Public Programs Archive with you, and we hope you will return often to see what else we’ve dug up.

SFMOMA's Public Programs Archive: soundcloud.com/tags/public%20programs%20archive


Public Programs Archive: Peter Schjeldahl: The Story of the Image (April 7, 2005)

Art Critic Rachel Withers leads a conversation with Susan Hiller on the occasion of her major exhibition Recall 1969-2004 at BALTIC (1 May - 18 July 2004). Rachel is Senior Lecturer at Wimbledon School of Art and a frequent contributor to ArtForum International and NU-E (formally the Nordic Art Review)

In conversation: Susan Hiller and Rachel Withers

Chazen- Behind the Scenes

Curators Gabriel Ritter and Yasufumi Nakamori.

Post-World War II Japanese Art

I wrote this track for my friend Haley O'Connor on a walk through the park. We were both working damn hard to stay sane in the face of chaos. It stayed in the back of my mind for about 5 years before I finally recorded it or even performed it.  Some of the best songs grow slowly like that.  This recording is almost completely live, recorded to 2 inch tape at Old Soul.  Tony Visconti played the guitar solo and made it sound classic.  Jesse Sparhawk held down the soul harp and I think those synth sounds came from Caley Monohan-Ward as well as the violin.  Nina Violet played viola.  Shooby-doop girls are Clara Engel, Nina Violet and myself.

04 The Road Is Paved With Leaves

Historian/curator Emily Braun, arts administrator Abby Subak.

On Alberto Burri, Gowanus Open Studios

Mayne Centre Lecture 2011
Dr Charles Green: 'Biennalisation'
University of Queensland Art Museum 12 October 2011
Contemporary art has boomed since the late 1980s. The period’s key art productions have clustered around spectacular, expensive new art such as video installation and large colour photography, implying venues able to provide the resources, scale and public prominence required by these works. APT 1, in 1993, had been designed to discard divisions between artists’ nationalities and to showcase the diversity, correlations and tensions between art practices across Asia and the Pacific, but its achievement was to legitimate this art as globally contemporary rather than national—and thus to extrapolate regional definitions of the contemporary.
Dr Charles Green is Associate Professor of Contemporary Art at the University of Melbourne and has a PhD from the University of Melbourne. He is also an artist, working collaboratively with Lyndell Brown.

Dr Charles Green: 'Biennalisation' (Maynce Centre Lecture 2011)

'What Resembles The Grave But Isn't' by Anne Boyer

Robert Irwin

Frank Stella

Artists on Artists Lecture Series
Jim Hodges on Joseph Beuys
December 10, 2007

Artists on Artists Lecture Series - Jim Hodges on Joseph Beuys

Artists on Artists Lecture Series
Gary Simmons on Bruce Nauman
March 14, 2005

Artists on Artists Lecture Series - Gary Simmons on Bruce Nauman

Artists on Artists Lecture Series
William Kentridge on Bruce Nauman
Thursday, December 19, 2002

Artists on Artists Lecture Series - William Kentridge on Bruce Nauman

Joel Shapiro, Linn Meyers

Anna Rose Greenberg interviewed Gabi Delgado of DAF! Hear him talk about the band, video games, songwriting, and more!

Radio

DAF interview WOBC

Mark Dion – Talk at Mildred’s Lane 28th July, 2012

Introduced by Marissa Benedict, Mildred’s Lane Fellow on The Alchemist’s Shack II and recipient of the Sisters Crow Adept Scholarship Fund, this talk by Mark Dion covers some of his “botanically-related” projects including Systema Metropolis (2007) and his recent commission for Documenta 13 (2012).

Systema Metropolis (2007) takes its name from Carl Von Linnaeus’s Systema Naturae (1735) - a founding text in the history of zoological and botanic nomenclature as it introduced the Linnaean system of classification to the natural world. Whilst Linnaeus’ task was to unearth and fix a taxonomy of biological life for the entire universe Systema Metropolis aimed - through collaborations between Dion and the Natural History Museum in London -  to explore a taxonomy of biological life in the microcosmic universe of the city of London.  Systema Metropolis used both traditional Linnaen approaches of comparative anatomy and contemporary systematic methodologies (which often involve grinding down a specimen to analyse its DNA structure) in order to analyse, categorize and present the project’s findings. 

The second project Dion describes – his commissioned piece for Documenta 13 - embarked from the legacy of another important figure from the history of zoology and botanical taxonomy: Carl Schildbach and his dioramic zylotech books (which Dion first came across in the natural history museum in Kassel during a break from Documenta 10). These books, originally made for the Gentry collectors of the time, were intended as an alternative to the pressed plant herbariums of the time and each book intended as a literal embodiment the tree which it represented. For Documenta 13 Dion set out on a similar project of creating zylotech books which would represent the trees of the different continents he was working across. The final work presented a complex portrait of shifting nature as well as a critique of taxonomy as a conditioned (and subjective) system of knowledge which codifies and classifies the world, dividing nature into discrete groups as a basis for typology and understanding.

Recorded on location in the barn at Mildred’s Lane, Pennsylvania the talk is punctuated by the chitter of cicadas, the infrequent pop of a beer bottle and the occasional bat squeek.

For more information on the projects please see http://markdionsbartramstravels.pcah.us/

Or visit the Mildred’s Lane website http://www.mildredslane.com/ 



Mark Dion Talk 28th June Mildreds Lane

Rickie Lee Jones, It Must Be Love (live in LA, 1991)

A radio interview with Kraftwerk's Ralf Hütter on Radio 2, hosted by Mark Radcliffe, on 6th of July, 2009


Kraftwerk Ralf Hutter interview 2009

Growing up in Ann Arbor, Michigan, Alex Goldman was a misfit. Bored and disaffected and angry, he longed for a place to escape to. And then he found Heyoon.

The only way to find out about Heyoon for someone to take you there. It was like there was this secret club of kids who knew about it. Alex got initiated when he was fifteen.

To find Heyoon, you'd drive out into the middle of nowhere, deep in the country, and park alongside a dirt road. A fence ran along the property line, with signage explicitly telling passers by to keep out. Once over the fence, a path behind a white farmhouse led to a thin line of trees, and then to a huge field. And there was something else there in the field. Something man-made. Something really big.

Artists on Artists Lecture Series - Jim Hodges on Joseph Beuys

diaartfoundation