In its second episode, the Art Slice Museum Laboratories Division of Color Theory and Color Studies presents . . . MAGENTA.

Join us as we discuss MAGENTA’S history involving flowery military uniforms, CMKY, cease and desist letters, and Charles Burchfield. We also get into the weeds regarding our associations with MAGENTA through data compiled by the Art Slice Pantrémon from clinical participants.

 

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TO FILL OUT THE NEXT SURVEY head on over to: https://www.artslicepod.com/episodes/01-viridian-art-history-art-slice-laboratories-division-of-color-studies/#survey

 

The song featured in this episode was “I need to do it to be alive” by Soft and Furious from the album Diving in the Self which is one of a hundred incredible songs by Rrrrrose of Loyalty Freak Music. Support Rrrrrose’s mission to create queer, free music against Capitalism and Fascism on Patreon. Consider supporting their work!

 

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In this Second Slice of Art History, things get kind of wild as we try new mics and new drinks as well as discuss Bernini’s trippy work that is Memorial of Maria Raggi from 1647-1653 made of marble and bronze! 

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Buon Appetito! 

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Stephanie and Russell are back to discuss the wild intersection of two unlikely figures - Italian artist Gian Lorenzo Bernini and Spanish nun Saint Teresa of Avila - that results in the controversial, monumental masterpiece that is The Ecstasy of Saint Teresa (1647-52).

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Gian Lorenzo Bernini, a pure talent with resources to nurture it, thrived without consequence under the protection of the Pope and the Roman Catholic Church. His talent, freedom and privilege led him to produce some of the best examples - or THE BEST (depending who you ask) - of Baroque sculpture and architecture. His name is synonymous with Baroque as his work always contained a combination of theatricality, dynamic compositions, opulent materials but most of all craft.

On the other hand, Saint Teresa of Avila who, born into privilege, still faced a restrictive existence as a queer woman in 16th century Spain, yet continued testing the boundaries of her autonomy even under the terrifying Spanish Inquisition. Her courage, faith, her reforming and her legendary mystical visions have come to inspire countless figures over the centuries, Bernini included.

Despite their differences, Bernini and St. Teresa shared discipline and a curiosity that pushed them to the limits of art and/or spirituality - no matter the cost. To this day, both of their shadows loom large in their respective fields and it’s hard to imagine how differently the world would look without them.

And it’s through The Ecstasy of Saint Teresa (1647-52) that their stories are forever cemented in history.

Other works discussed are The Rape of Proserpina, 1621-22. Marble.

Topics include frosting on frosting, architect drama, donkey ears, visions of Jesus in your mirror/soul and . . the return of the God Bod - kind of.

The Art Pantry this week is Marble.

Be sure to listen to all the cuts that didn’t make it into the episode on our Patreon.

The featured music in this episode was “Net content electric ingredients” by Patrick Kilpatrick from the album “Introducing Patrick Kilpatrick”. This album is perfect for Spring - consider supporting his work here!

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This week, Stephanie and Russell present a BONUS serving of Art History in honor of their beloved cat who passed away suddenly this past week, Frankie.

❀ 𝓕𝓻𝓪𝓷𝓴𝓲𝓮 𝟤𝟢𝟣𝟣 - 𝟤𝟢𝟤𝟤 ❀

Full episode out next week!

This BONUS serving is of Agnes Pelton’s Future painting from 1943 from episode 20 and a set of bloopers and cutscenes from Hilma af Klint episode 14.

Hug your animal friends and human friends extra tight tonight and enjoy this Patreon content courtesy of Frankie. 

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In its’ inaugural episode, the Art Slice Museum Laboratories Division of Color Theory and Color Studies presents . . . VIRIDIAN.

Join us as we discuss VIRIDIAN’s varied and noxious history involving the Ancient Egyptians, Romans, and Paolo Veronese. We also get into the weeds regarding our associations surrounding VIRIDIAN through data compiled by the Art Slice Pantrémon from clinical participants (listeners).

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There is also a heated debate regarding a undecidedly viridian colored couch - be sure to cast your vote:

https://www.artslicepod.com/episodes/01-viridian-art-history-art-slice-laboratories-division-of-color-studies

The song featured in this episode was “I need to do it to be alive” by Soft and Furious from the album Diving in the Self which is one of a hundred incredible songs by Rrrrrose of Loyalty Freak Music. Support Rrrrrose’s mission to create queer, free music against Capitalism and Fascism on Patreon. Consider supporting their work!

Reviewing, subscribing, liking, and sharing really helps support the show:

Follow us on twitter, tiktok, youtube, and instagram.

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Stephanie and Russell are back to take you to the California desert, where they discuss the life and work of Agnes Pelton, a theosophical and occult painter of the 20th century who was relatively unknown in the Art World Mainstream until recently.

For all the clips we cut from this and other episodes, including us covering another Agnes Pelton work - Future, 1943 - head on over to our Patreon https://www.patreon.com/artslicepod

Despite similarities to Hilma af Klint and Wassily Kandinsky (both inspired by Theosophy) in terms of abstraction and often compared to painter Georgia O’ Keefe with her desert landscapes – Agnes’ work is truly unique, combining theosophical symbology with a keen eye to light filled observations resulting in otherworldly and incandescent compositions. Using oil paint and numerous layers of glazes, she achieves that mesmerizing glowing light effect present in paintings of Italian Baroque masters like Artemisia Gentileschi and (Michelangelo Merisi da) Caravaggio.

After leaving behind the bustling East Coast, Agnes sought a life in Cathedral City, located in the California desert, where she could channel her energy and focus on harnessing the incandescent visions that came to her through her meditations while also exploring her spirituality.

There, she found a community of like-minded outsiders and artists who thrived in the oasis that was Cathedral City for them too. Despite her lack of mainstream success for the most part during her life, she made a lasting impression on those who knew her – whether it was through her presence or through her stunning paintings.

Topics include sugar addiction problems, dirty windshields, studious rattlesnakes, silver tea sets, and cliffside thrift stores.

The works discussed today are Sandstorm, 1932; Orbits. 1934; and The Blest. 1941.

The featured music today is "Doug and Mike Starn" by Rob Lynch & Jonathan Hughes from the album Public / Private

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Stephanie Dueñas and Russell Shoemaker are back to take you way, WAY further back than ever - to the Giottosphere where they explore the frescoes of Italian artist and architect Giotto in the Scrovegni (Arena) Chapel - an Early Renaissance masterpiece.

Be sure to listen to all the cuts that didn’t make it into the episode on our Patreon.

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Join them as they discuss Giotto’s early life from his humble shepherd boy beginnings to his coming of age as a prodigy under the (former) GOAT painter Cimabue.

Giotto’s talent, personality, and fame landed him his most famous commission: the Scrovegni Chapel - commissioned by LendNation Loan Shark CEO Enrico Scrovegni - where he depicts the lives of the Virgin Mary and Jesus (oh, the irony).

At the end of Medieval times and on the cusp of the Renaissance, Giotto’s work reminds his audience that art can, in fact, depict actual humans through the use of attention to details like a figure’s emotional expression, babies (no, not shrunken men), the curl of a sheep’s wool or the drapery of a figure’s clothing. Giotto’s realistic and natural style would go on to inspire Renaissance masters like Michelangelo as well as stir emotions within those who experience the chapel

Topics include: medieval flyswatters, T-clinic lawn signs, Lord Farquaad haircuts, and ancient comets.

You can experience 360 VR of the Scrovegni (Arena) Chapel here.

The Art Pantry this week is Trompe L’oeil.

The song featured in this episode was “En attendant domain (Waiting for Tomorrow)” which is one of a hundred incredible songs by Rrrrrose of Loyalty Freak Music. Support Rrrrrose’s mission to create queer, free music against Capitalism and Fascism on Patreon. Consider supporting their work!

Reviewing, subscribing, liking, and sharing really helps support the show:

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Spookephanie Dueñas and Russell Cryptmaker are back for this special Creature Double Feature episode:

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Be sure to listen to all the cuts that didn’t make it into the episode (and there are plenty in this one) on our Patreon: https://www.patreon.com/artslicepod

Here to lift the spooky spirits, Spookephanie and Russell discuss - not one but two - ghoulish works, from two different continents, separated by a century, but sharing eerie similarities like gruesome stories of doomed protagonists:

A woodblock print, House of Plates, 1831-32 by Japanese Ukiyo-e master Katsushika Hokusai and the overlooked Scottish mixed media artist Margaret Macdonald Mackintosh’s painting, La Mort Parfumée (Perfumed Death) from 1921.

In Part One, they briefly discuss the environment in which Ukiyo-e blossomed in 17th - 19th century Japan, 3 ghostly prints from Katsushika Hokusai’s series One Hundred Ghost Stories and the Featured: House of Plates print while discovering that Okiku’s story ends . . . well (no bueno).

In Part Two, they introduce the 1913 play, La Pisanelle written by Gabriele D’ Annunzio* which inspired Margaret’s Featured work: La Mort Parfumée (perfumed Death). They also dive into Margaret’s life as she rejected Victorian gender roles and ideologies; her mesmerizing work, which embodied the Glasgow Style, as well as her overlooked contributions to art history, especially the Arts and Crafts and Art Nouveau movements that would inspire artists like Gustav Klimt from Vienna.

Topics include: Weird Al & Hawaiian shirts, triggering Glassdoor HR responses, playing pinball with plate-bodied ghosts and big, floppy bow ties.

The Art Pantry this week is Rhythm.

Special thanks to Bryan Knotts, https://bryanknotts.com/ designer of our Art Slice pizza box logo, for lending us his voice for the Creature Double Feature intro.

 

Check out Austin’s beautiful, lost-wax technique jewelry on Instagram: @spicywitchsoup

Check out the new Art Crime podcast Caper:

https://ochentastudio.com/caper-podcast

 

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Stephanie and Russell are back with a full serving and boy, it is piping hot.

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Be sure to listen to all the cuts that didn’t make it into the episode (and there are plenty in this one) on our Patreon: https://www.patreon.com/artslicepod

Stephanie and Russell are back (!) to discuss two prolific artists who were opposites in many ways: one was wealthy, one was not; one was cold, one was hot; one is well-known in Art History, one is not.

Marcel Duchamp is considered hugely influential to changing modern painting and sculpture through his contributions to Dada, Surrealism, eventually inspiring Pop Art. 

Maria Martins, a pioneering Brazilian sculptor making bold, sexy, and surreal works the art world had yet to see in the 1940s, is rarely ever mentioned in Modern Art History despite exhibiting with the Surrealists or she is merely mentioned as “Marcel Duchamp’s mistress” (which is incorrect).

Their paths crossed in the 1940s New York City art scene, where they mingled and fell in love, leading them to pursue an unexpected fiery romance that had a lasting and fascinating impact on their lives, their artwork, and ultimately, Art History.

Stephanie and Russell discuss elements of their relationship through Maria Martin’s The Impossible III (1946) and Marcel Duchamps’ “Etants Donnes” (1946 -1966).

Topics include: Rectangular Boys of Parlor, the Fourth Dimension, urinals, Mar-kel Du-chump, sensual samba dancers, face cleavage, runaway vaginas, Thomas Kinkade, and teeny hacksaws.

The Art Pantry this week is Bronze Casting.

The song featured in this episode was “I Hate Him So Much” by Anonymous 420 from the album This Is All A Dream which can be found here: https://chezmonplaisir.bandcamp.com/

Support Rrrrrose’s mission to create queer, free music against Capitalism and Fascism on Patreon: https://www.patreon.com/loyaltyfreakmusic

Check out AP Leslie’s Knees Turned Velvet.: https://www.amazon.com/Knees-Turned-Velvet-Poetry-Collection/dp/1980482012

Check out Telezma Studio’s Tarot Deck: https://www.etsy.com/shop/TelezmaStudios

Check out the new Art Crime podcast Caper:

https://ochentastudio.com/caper-podcast

 

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Oh jeez - this is a wild one...... Stephanie and Russell are back with another serving and boy, is it a _ROMP_.

This week, join them as they head further back into Art History than ever before – to the 16th century to introduce El Greco, a catalyst of Modern Art.

Follow along with ALL the images we discuss on our website at artslicepod.com or some of the images we discuss on Instagram @artslicepod

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Looking to make it big, El Greco left the island life of Crete for the bustling Italian cities of Venice and Rome. There, he picked up traits from Renaissance and Mannerism styles and added some hometown Post-Byzantine spice – resulting in a bizarre yet stunning combination of colors and dynamic compositions never before seen in art history. He also made some friends - and enemies - along the way.

Despite the Counter Reformation’s harsh grip on Europe, EG was still able to thrive utilizing his strange style (that echoed his eccentric personality) to continually score commissions while managing to stand out amongst his contemporaries.

After his death, he was mostly forgotten about until his rediscovery in the 19th century. Modern artists of the 20th century claimed him since he laid the groundwork for breaking visual tradition. And it was famous works like The Annunciation (1597) that caught the eye of Remedios Varo and Pablo Picasso among other art giants like Paul Cezanne.

Stephanie and Russell discuss the first iterations of abstraction present in The Annunciation (1597) in which a teenage Mary is receiving heavenly news from towering angels and a turbulent celestial cloud column with floating cherub heads.

Topics include: the rebranding of the Catholic Church (RC²), a lotta olives, trash talking Michelangelo (not us), long babies, miniature galleries for rats, time travel, and a plushie Remedios Varo mascot. There is no Art Pantry this week because Bean is missing.

The song featured in this episode was “A Forest for me and You” by Komiku from the album A Tale is Never Forgotten which can be found here. Consider supporting their work! https://chezmonplaisir.bandcamp.com/album/a-tale-is-never-forgotten

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Be sure to listen to all the cuts that didn’t make it into the episode (and there are plenty in this one) on our Patreon: https://www.patreon.com/artslicepod

Check out Telezma Studio’s Tarot Deck: https://www.etsy.com/shop/TelezmaStudios

Check out the new Art Crime podcast Caper:

https://ochentastudio.com/caper-podcast

Follow us on twitter, tiktok, youtube, and instagram all @artslicepod

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