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Ici vont tous les articles destinés à apparaître sur le podcast

Podcast – Grandeur Nature

Musikvideo - Installation als medialer Entwurf einer ästhetischen Situation (mit Video, Musik, Objekt, Human Artefacts)

MUSIKVIDEOPROGAMM // Herzo-Base-Exit: Kapitel 1-9

Talia, Vidya und Manfred, werden euch in der Podcast-Reihe "Art Ed - Der Art Education Podcast vom Kunstforum Wien" rund um die Ausstellung "Helmut Newton Legacy" neun Episoden lang Einblicke in das Leben und Werk von Helmut Newton geben und sich dabei wichtigen Fragen widmen, die immer wieder in Bezug auf Newton und sein Erbe auftauchen. Eingeladen werden dazu jeweils prominente Gäste, Expertinnen und Personen aus Kunst und Kultur.

ArtEd - Der Art Education Podcast vom Kunstforum Wien

Lochmann Records Podcast Series

www.lochmannrecords.de

Lochmann Records Podcast Series www.lochmannrecords.de

Lochmann Records Podcast Series

www.lochmannrecords.de

Lochmann Records Podcast

Proclaiming a Message of Good News and Hope to our generation!

Living Truth

어떤 교집합

Fotografi e videomaker, amatori e professionisti, possono vendere gratuitamente i loro contenuti nei microstock: agenzie online che forniscono creatori di siti internet, registi cinematografici e televisivi o anche semplici professionisti alla ricerca di una semplice foto per una presentazione power point. In questo podcast Daniele Carrer, produttore dal 2006 con centinaia di migliaia di euro di incassi alle spalle, insegna cosa conviene produrre per guadagnare, che tecniche utilizzare e tutto quello che bisogna sapere per vendere le proprie foto e i propri video online.

Fotografi e videomaker, amatori e professionisti, possono vendere gratuitamente i loro contenuti nei microstock: agenzie online che forniscono creatori di siti internet, registi cinematografici e televisivi o anche semplici professionisti alla ricerca di una semplice foto per una presentazione power point.In questo podcast Daniele Carrer, produttore dal 2006 con centinaia di migliaia di euro di incassi alle spalle, insegna cosa conviene produrre per guadagnare, che tecniche utilizzare e tutto quello che bisogna sapere per vendere le proprie foto e i propri video online.

Fotografi e videomaker, amatori e professionisti, possono vendere gratuitamente i loro contenuti nei microstock: agenzie online che forniscono creatori di siti internet, registi cinematografici e televisivi o anche semplici professionisti alla ricerca di una semplice foto per una presentazione power point. In questo podcast Daniele Carrer, produttore dal 2006 con centinaia di migliaia di euro di incassi alle spalle, insegna cosa conviene produrre per guadagnare, che tecniche utilizzare e tutto quello che bisogna sapere per vendere le proprie foto e i propri video online.

Vendere foto e video online

Something From Nothing is a show about the creative process and the individuals involved. This show is about local makers for local listeners.

Something From Nothing

Herzlich willkommen in Bäranien bzw. Baeranien, dem Königreich der Teddybären & Kuscheltiere. Teddybär-König Opa I. und seine Familie halten Euch hier auf dem Laufenden. Bäranien ist eine Teddybär-Satire-Seite für Jung und Alt, die einfach nur Spaß machen und unterhalten soll. In kleinen Episoden werden immer neue aktuelle Themen aufgegriffen, gewürzt mit einer Prise Humor. 

Ihr findet zusätzliche Infos und Berichte auch unter: https://Baeranien.de

Herzlich willkommen in Bäranien bzw. Baeranien, dem Königreich der Teddybären & Kuscheltiere. Teddybär-König Opa I. und seine Familie halten Euch hier auf dem Laufenden. Bäranien ist eine Teddybär-Satire-Seite für Jung und Alt, die einfach nur Spaß machen und unterhalten soll. In kleinen Episoden werden immer neue aktuelle Themen aufgegriffen, gewürzt mit einer Prise Humor. Ihr findet zusätzliche Infos und Berichte auch unter: https://Baeranien.de

Herzlich willkommen in Bäranien bzw. Baeranien, dem Königreich der Teddybären &amp; Kuscheltiere. Teddybär-König Opa I. und seine Familie halten Euch hier auf dem Laufenden. Bäranien ist eine Teddybär-Satire-Seite für Jung und Alt, die einfach nur Spaß machen und unterhalten soll. In kleinen Episoden werden immer neue aktuelle Themen aufgegriffen, gewürzt mit einer Prise Humor. 

Ihr findet zusätzliche Infos und Berichte auch unter: https://Baeranien.de

Bäranien – Königreich der Teddybären

The Zero Room is a Los Angeles based podcast addressing weekly news and issues relating to the entertainment industry. If there is a spaceship, a robot, some type of laser cannon, a superhero, a supervillain, a talking car, a phase-inverted plasma stream, a ghost, a monster, a zombie, or time travel (especially time travel) involved, we will cover it. This is the Zero Room guarantee.

The Zero Room

Toda la virtuosidad visual es llevada hasta tus oídos por intelectuales no tan listos.

Lo que se ve no se pregunta

All things Halloween with producers Linda Palmer and Rae Davis

Bat Chat

Parole in libertà sul mondo della fotografia. Questo podcast nasce in un periodo particolare dove tutto corre e vuole raccontare un punto di vista sulla fotografia più lento, ragionato, a tutto tondo: dall'attrezzatura allo stile.

Parole in libertà sul mondo della fotografia.Questo podcast nasce in un periodo particolare dove tutto corre e vuole raccontare un punto di vista sulla fotografia più lento, ragionato, a tutto tondo: dall'attrezzatura allo stile.

Parole in libertà sul mondo della fotografia. Questo podcast nasce in un periodo particolare dove tutto corre e vuole raccontare un punto di vista sulla fotografia più lento, ragionato, a tutto tondo: dall'attrezzatura allo stile.

Fulmini nell'oscurità

Cinta ini dituang dalam berbagai ungkapan. Sehingga ungkapan itu memberi isi berupa suara yang hanya sekedar kata-kata. Ada juga puisi, cerita, perbincangan, maupun alunan lagu. Karena cinta disini bertujuan untuk menemukan puncak ketenangan hati. Selamat menikmati 😊

Cinta - Rosh Vitria ( CRV )

Un espacio creado por la licenciatura en diseño digital de la Universidad de Celaya para compartir, informar y debatir sobre temas de diseño, arte y cultura visual.

Zona Áurea "UNIVERSIDAD DE CELAYA"

Video.blog

A PORTA33 é um projecto de produção de arte contemporânea. Convida os artistas a realizarem exposições inéditas e, sempre que possível, a partir das vivências por eles experimentadas na Madeira. É também um projecto de divulgação. Organiza colóquios sobre o trabalho dos artistas, promove visitas guiadas às exposições em colaboração com a comunidade escolar e mantém um centro de documentação de cultura contemporânea.

Visite o Website:https://www.porta33.com/index_porta33_porto_santo.html

Subscreva ao canal PORTA33 — MADEIRA:
https://castbox.fm/channel/PORTA33-%E2%80%94-MADEIRA-id3129099?country=pt

A PORTA33 é um projecto de produção de arte contemporânea. Convida os artistas a realizarem exposições inéditas e, sempre que possível, a partir das vivências por eles experimentadas na Madeira. É também um projecto de divulgação. Organiza colóquios sobre o trabalho dos artistas, promove visitas guiadas às exposições em colaboração com a comunidade escolar e mantém um centro de documentação de cultura contemporânea. Visite o Website:https://www.porta33.com/index_porta33_porto_santo.html Subscreva ao canal PORTA33 — MADEIRA: https://castbox.fm/channel/PORTA33-%E2%80%94-MADEIRA-id3129099?country=pt

PORTA33 — ESCOLA DO PORTO SANTO

Studio practice thoughts and talks about all things apples (not the brand). Unrelated potential content included whiskey, cigars, random studio guests and drunken ramblings.

Apples and Art

En este video hablamos sobre las experiencias de terror que nos han sucedido.

Departamento 21

A collection of live talks, artist chats and big ideas hosted by Wesley Enoch the Artistic Director of Sydney Festival.

A collection of live talks, artist chats and big ideas hosted by Wesley Enoch the Artistic Director of Sydney Festival.

Sydney Festival

Conversations about freelance photography and filmmaking

Instagram: @dominic_doring @_tobymitchell

Conversations about freelance photography and filmmaking Instagram: @dominic_doring @_tobymitchell

Still Moving

Smartphones have made photography more accessible than ever. Mike James invites you into the Smartphone Photography Club to be part of our education community. If you are a photo enthusiast wanting to become more creative and confident using your existing mobile device, this is the podcast for you.

Smartphone Photography Club

Podcast incentrato su pillole di storia dell'arte, curiosità, monumenti, archeologia e cultura materiale in Liguria con un approccio divulgativo.

Lorenzo Bisio Studio

Únete a Popurrí a Media Noche, dirigido por un grupo de jóvenes apasionados, mientras exploramos el fascinante mundo del arte visual. En cada episodio, abordamos temas diversos relacionados con la creatividad, la estética y la expresión artística, todo desde la perspectiva única de nuestra generación.
Exploraremos las últimas tendencias en arte visual, desde las formas clásicas hasta las expresiones más contemporáneas, pasando por la fotografía, el diseño gráfico, la pintura, la ilustración y mucho más. 
Instagram: @marlopiguave @_pina_coco_ @sionnoise @dollybtch

Únete a Popurrí a Media Noche, dirigido por un grupo de jóvenes apasionados, mientras exploramos el fascinante mundo del arte visual. En cada episodio, abordamos temas diversos relacionados con la creatividad, la estética y la expresión artística, todo desde la perspectiva única de nuestra generación. Exploraremos las últimas tendencias en arte visual, desde las formas clásicas hasta las expresiones más contemporáneas, pasando por la fotografía, el diseño gráfico, la pintura, la ilustración y mucho más. Instagram: @marlopiguave @_pina_coco_ @sionnoise @dollybtch

Popurrí a Media Noche

Fernando fingindo que tem uma rádio, e falando sozinho

Rádio do meu quarto

Podcast ini adalah podcast yang berisi penjelasan, komentar, serta solusi tentang kesenian. Kesenian disini mulai dari lokal hingga internasional. Tidak hanya itu podcast ini juga akan membahas tentang alat musik barat dan yang lainnya.

ASG OFFICIAL

El primer podcast NFTuber del mundo. Democtratizando el arte... en español. @NFTuberss

NFTubers

Welcome to ClickBait, the podcast where photography meets hilarity. Whether you’re a seasoned pro, a passionate amateur, or someone who just bought a ”really good camera” for vacation pics, this show is for you. We dive lens-first into the world of photography—gear debates, editing fails, awkward photoshoots, and the eternal mystery of what exactly HDR does—all with a hefty dose of sarcasm and laughter.

Hosted by two camera geeks who take photography seriously (but never themselves), ClickBait is your backstage pass to the lighter side of shutter speeds, ISO blunders, and the age-old war between Nikon and Canon.

Tune in for hot takes, cold brews, and shots (of espresso and f-stops). Because sometimes the only thing sharper than your lens should be your wit.

Welcome to ClickBait, the podcast where photography meets hilarity. Whether you’re a seasoned pro, a passionate amateur, or someone who just bought a ”really good camera” for vacation pics, this show is for you. We dive lens-first into the world of photography—gear debates, editing fails, awkward photoshoots, and the eternal mystery of what exactly HDR does—all with a hefty dose of sarcasm and laughter. Hosted by two camera geeks who take photography seriously (but never themselves), ClickBait is your backstage pass to the lighter side of shutter speeds, ISO blunders, and the age-old war between Nikon and Canon. Tune in for hot takes, cold brews, and shots (of espresso and f-stops). Because sometimes the only thing sharper than your lens should be your wit.

ClickBait

Oko is a podcast for collectors and other art lovers. I'm your host, Lisa Cooley. I have 25 years experience in this field, and I want to share it all with you. I made this podcast for veteran collectors, new collectors, and collecting-curious. Oko is for all of you.&nbsp;

Oko is a podcast for collectors and other art lovers. I'm your host, Lisa Cooley. I have 25 years experience in this field, and I want to share it all with you. I made this podcast for veteran collectors, new collectors, and collecting-curious. Oko is for all of you. 

היי צ'יינג'רז

נראה שהעולם זז מהר יותר בכל יום, ושינוי צפוי לנו בכל פינה. מעבר לזה, הוא בלתי נמנע בחיים ובלתי נפרד מהתפתחות.

ב-Change Matters נדבר עם אנשים שעשו שינוי בתחומם או בחיים עצמם, נשמע את הסיפור שלהם, נקבל את הטייק ונקודת המבט שלהם על דברים ואיך הם הניעו את השינוי, מה הם חידשו בעולם, ונשאב מהם השראה לשינוי שלנו. לפעמים הם יהיו מתוך פירמה, לפעמים יהיו פרקים רבי־משתתפים – ולפעמים שיחות רק של שנינו. 

הפודקסאט -Change Matters הוא הפודקאסט של פירמה, חברה ל-Business Design. פירמה עובדת עם לקוחות מכל קשת הסקטורים ועוזרת להם להוביל תהליכי שינוי – בחברה שלהם, אצל הקהלים שלהם, שינוי בקטגוריה המקצועית, ושינויים בעלי אימפקט גלובלי. 

ומי אנחנו?

סתיו מילוא, כותבת את חיי, ובפירמה כותבת יצירתית. בדרך כלל מסכמים את זה ב"קופי", אם כי זה כולל גם אפיוני שפה, מיקרוקופי, תסריטים, קריאייטיב, מסרים, כל מה שצריך קול ומילים. 

ואלעד משען, שותף ומנהל הקריאייטיב הראשי של פירמה, מעצב גרפי במקור שאוהב להסתכל על העולם דרך צבעים וצורות, ותמיד מחפש את הגרסה הטובה יותר של עצמו ושלנו בכלל. 

התחלנו להקליט את הפודקאסט מתוך אהבה לסיפורים, שיחות נפש ועשייה, וסקרנות לגבי איך אנשים עושים מה שהם עושים בעולם שלא מפסיק להסתובב. אם אתם כאן, כנראה שאנחנו דומים – אז מקווים שתמצאו בפוד שלנו ערך, פאן, עניין, השראה ומוטיבציה. 

מוזמנים להאזין, לשלוח לאנשים, להמליץ לנו על אורחים מעניינים ולכתוב לנו מחשבות - Don’t be a stranger, be a changer.

Change Matters – מתחילים.  
הנה לינקים שישנו לך:

פירמה באתר
https://www.firmabrands.com/

פירמה באינסטגרם
https://www.instagram.com/firma.businessdesign/?hl=en

היי צ'יינג'רז נראה שהעולם זז מהר יותר בכל יום, ושינוי צפוי לנו בכל פינה. מעבר לזה, הוא בלתי נמנע בחיים ובלתי נפרד מהתפתחות. ב-Change Matters נדבר עם אנשים שעשו שינוי בתחומם או בחיים עצמם, נשמע את הסיפור שלהם, נקבל את הטייק ונקודת המבט שלהם על דברים ואיך הם הניעו את השינוי, מה הם חידשו בעולם, ונשאב מהם השראה לשינוי שלנו. לפעמים הם יהיו מתוך פירמה, לפעמים יהיו פרקים רבי־משתתפים – ולפעמים שיחות רק של שנינו. הפודקסאט -Change Matters הוא הפודקאסט של פירמה, חברה ל-Business Design. פירמה עובדת עם לקוחות מכל קשת הסקטורים ועוזרת להם להוביל תהליכי שינוי – בחברה שלהם, אצל הקהלים שלהם, שינוי בקטגוריה המקצועית, ושינויים בעלי אימפקט גלובלי. ומי אנחנו? סתיו מילוא, כותבת את חיי, ובפירמה כותבת יצירתית. בדרך כלל מסכמים את זה ב"קופי", אם כי זה כולל גם אפיוני שפה, מיקרוקופי, תסריטים, קריאייטיב, מסרים, כל מה שצריך קול ומילים. ואלעד משען, שותף ומנהל הקריאייטיב הראשי של פירמה, מעצב גרפי במקור שאוהב להסתכל על העולם דרך צבעים וצורות, ותמיד מחפש את הגרסה הטובה יותר של עצמו ושלנו בכלל. התחלנו להקליט את הפודקאסט מתוך אהבה לסיפורים, שיחות נפש ועשייה, וסקרנות לגבי איך אנשים עושים מה שהם עושים בעולם שלא מפסיק להסתובב. אם אתם כאן, כנראה שאנחנו דומים – אז מקווים שתמצאו בפוד שלנו ערך, פאן, עניין, השראה ומוטיבציה. מוזמנים להאזין, לשלוח לאנשים, להמליץ לנו על אורחים מעניינים ולכתוב לנו מחשבות - Don’t be a stranger, be a changer. Change Matters – מתחילים. הנה לינקים שישנו לך: פירמה באתר https://www.firmabrands.com/ פירמה באינסטגרם https://www.instagram.com/firma.businessdesign/?hl=en

Change Matters

Всё ещё думаешь, что походы в музеи и библиотеки это скучно? Не понимаешь, что значат все эти символы на картинах? Или просто хочешь знать об искусстве больше? Я постараюсь стать твоим компаньоном на пути постижения прекрасного. Меня зовут Алиса Хусаенова, я не являюсь экспертом в области культуры и искусства, я студентка МГУ им. М. В. Ломоносова и мне предстоит ещё много учиться и каждый день узнавать что-то новое. Предлагаю тебе пройти этот путь вместе со мной, так что присоединяйся, если ты, конечно, готов(а).


Переходи в мой тг канал: https://t.me/chashkka
Подписывайся на группу ВК: https://vk.com/chashkkaa

Всё ещё думаешь, что походы в музеи и библиотеки это скучно? Не понимаешь, что значат все эти символы на картинах? Или просто хочешь знать об искусстве больше? Я постараюсь стать твоим компаньоном на пути постижения прекрасного.Меня зовут Алиса Хусаенова, я не являюсь экспертом в области культуры и искусства, я студентка МГУ им. М. В. Ломоносова и мне предстоит ещё много учиться и каждый день узнавать что-то новое. Предлагаю тебе пройти этот путь вместе со мной, так что присоединяйся, если ты, конечно, готов(а). Переходи в мой тг канал: https://t.me/chashkka Подписывайся на группу ВК: https://vk.com/chashkkaa

Всё ещё думаешь, что походы в музеи и библиотеки это скучно? Не понимаешь, что значат все эти символы на картинах? Или просто хочешь знать об искусстве больше? Я постараюсь стать твоим компаньоном на пути постижения прекрасного. Меня зовут Алиса Хусаенова, я не являюсь экспертом в области культуры и искусства, я студентка МГУ им. М. В. Ломоносова и мне предстоит ещё много учиться и каждый день узнавать что-то новое. Предлагаю тебе пройти этот путь вместе со мной, так что присоединяйся, если ты, конечно, готов(а).


Переходи в мой тг канал: https://t.me/chashkka
Подписывайся на группу ВК: https://vk.com/chashkkaa

Чашка с исКУСЬством

A street photography podcast highlighting folks from the SF Bay Area and women and gender expansive photographers near and far.

A street photography podcast highlighting folks from the SF Bay Area and women and gender expansive photographers near and far.

Street Beats

Endless hunt

Welcome to Sick, Sad Simulation, a weekly podcast uncovering the fine art world’s illustrious hidden pathways. Hosted by interdisciplinary artist, curator, and writer, Kameo Chambers, and features a diverse line up of artisans, historians, educators, and more. Tune in every Saturday as we spill the tea on the art world's best-kept secrets!

Sick, Sad Simulation

Gedanken und Denkanstöße zur Fotografie. Mal philosophisch, mal praxisorientiert.

Fotogedanken

Richard Serra, born on November 2, 1938, in San Francisco, California, is an American artist known for his monumental, site-specific sculptures made of industrial materials, particularly Cor-Ten steel. His work has redefined the boundaries of sculpture and has had a profound impact on the art world, making him one of the most influential and celebrated artists of the postwar era. Early Life and Education Serra grew up in a working-class family in San Francisco. His father, Tony Serra, was a Spanish-native who worked as a pipe-fitter in the shipyards, while his mother, Gladys Feinberg, was a Russian Jewish immigrant. From an early age, Serra showed an interest in art and was encouraged by his parents to pursue his passion. After graduating from Lowell High School in 1957, Serra attended the University of California, Berkeley, where he studied English literature. He also took art classes and was introduced to the work of Abstract Expressionist painters such as Willem de Kooning and Jackson Pollock, which would greatly influence his artistic development. In 1961, Serra graduated from Berkeley with a Bachelor of Arts degree in English literature. He then traveled to Europe, where he spent a year studying at the Accademia di Belle Arti in Florence, Italy. During this time, he was exposed to the works of Italian Renaissance artists, as well as the avant-garde art scene in Europe. Upon returning to the United States, Serra enrolled in the Master of Fine Arts program at Yale University. There, he studied under the influential art theorist and critic, Josef Albers, who had a profound impact on his artistic philosophy. Serra graduated from Yale in 1964 with an MFA in painting. Early Career and Artistic Development After completing his studies, Serra moved to New York City, where he became involved in the vibrant art scene of the 1960s. He worked as a painter and a sculptor, experimenting with various materials and techniques. In 1966, he began creating sculptures using non-traditional materials such as rubber, neon, and lead, which he often installed directly on the floor or wall of the gallery space. Serra's early sculptures were influenced by the minimalist and conceptual art movements of the time. He was interested in the inherent properties of materials and the ways in which they could be manipulated to create new forms and experiences. His work often challenged traditional notions of sculpture as a static, object-based medium and instead emphasized the viewer's physical and perceptual experience of the work. In 1968, Serra created his first large-scale outdoor sculpture, "To Encircle Base Plate Hexagram, Right Angles Inverted," which consisted of a steel plate measuring 26 feet in diameter, with a hexagonal hole cut into the center. The sculpture was installed on a beach in Long Island, New York, and was designed to be experienced by walking around and through it. Throughout the late 1960s and early 1970s, Serra continued to explore the possibilities of large-scale sculpture using industrial materials such as steel, lead, and concrete. He began to create works that were site-specific, meaning that they were designed to respond to and engage with the unique characteristics of the location in which they were installed. One of Serra's most famous site-specific works from this period is "Shift," which he created in 1970-72. The sculpture consists of six large concrete walls, each measuring 60 feet long and 10 feet high, that are arranged in a zigzag pattern across a field in King City, Ontario, Canada. The walls create a sense of movement and rhythm as the viewer walks through the work, and the shifting perspectives and sight lines create a dynamic and immersive experience. International Recognition and Public Commissions In the mid-1970s, Serra began to receive international recognition for his work. He was invited to create large-scale public sculptures in cities around the world, including Barcelona, Berlin, and Tokyo. These commissions allowed him to work on an even larger scale and to engage with the unique social, political, and historical contexts of each location. One of Serra's most famous public sculptures is "Tilted Arc," which he created in 1981 for the Federal Plaza in New York City. The sculpture consisted of a single, curved steel plate that measured 120 feet long and 12 feet high, and was installed in the center of the plaza. The sculpture was controversial from the start, with many people complaining that it disrupted the flow of pedestrian traffic and created a sense of unease and disorientation. In 1985, the U.S. General Services Administration held a public hearing to decide the fate of "Tilted Arc." Despite Serra's arguments that the sculpture was an integral part of the site and could not be removed without destroying its meaning and integrity, the hearing ultimately resulted in a decision to remove the sculpture. The controversy surrounding "Tilted Arc" sparked a national debate about the role of public art and the relationship between artists, audiences, and the government. Despite the controversy, Serra continued to receive commissions for large-scale public sculptures throughout the 1980s and 1990s. Some of his most notable works from this period include "The Matter of Time" (1994-2005), a series of eight massive steel sculptures installed in the Guggenheim Museum Bilbao in Spain, and "Snake" (1994-1997), a 180-foot-long steel sculpture installed in the Guggenheim Museum in Bilbao. In addition to his public commissions, Serra also continued to create smaller-scale sculptures and works on paper throughout his career. His drawings and prints often explore similar themes and ideas as his sculptures, such as the relationship between form, space, and the viewer's perception. Later Career and Legacy In the 2000s and 2010s, Serra continued to create monumental sculptures and installations that pushed the boundaries of what was possible with industrial materials. Some of his most notable works from this period include "7" (2011), a series of seven massive steel sculptures installed in Doha, Qatar, and "East-West/West-East" (2014), four steel plates installed in the Qatari desert that measure up to 55 feet tall and span over a kilometer in length. Serra's work has been widely exhibited and collected by major museums and institutions around the world, including the Museum of Modern Art in New York, the Tate Modern in London, and the Pompidou Center in Paris. He has received numerous awards and honors throughout his career, including the Leone d'Oro for lifetime achievement at the Venice Biennale in 2001 and the Presidential Medal of Arts in 2010. In addition to his artistic practice, Serra has also been an influential teacher and mentor to generations of younger artists. He has taught at Yale University, the California Institute of the Arts, and the School of Visual Arts in New York, among other institutions. Serra's legacy as an artist is one of innovation, experimentation, and a deep commitment to the physical and perceptual experience of art. His work has had a profound impact on the development of contemporary sculpture and has challenged traditional notions of what art can be and how it can engage with the world around us. In interviews and writings throughout his career, Serra has emphasized the importance of the viewer's direct experience of his work. He has argued that sculpture should not be seen as a static object to be looked at from a distance, but rather as a dynamic and immersive environment that the viewer can enter into and engage with on a physical and perceptual level. Serra's emphasis on the viewer's experience has had a profound influence on the development of installation art and site-specific sculpture in the late 20th and early 21st centuries. His work has inspired generations of artists to think beyond the traditional boundaries of sculpture and to explore new ways of engaging with space, materials, and the human body. In recent years, Serra has continued to push the boundaries of what is possible with industrial materials and large-scale sculpture. In 2015, he completed "East-West/West-East," his largest and most ambitious work to date. The sculpture consists of four massive steel plates, each measuring up to 55 feet tall and weighing up to 220 tons, installed in the Qatari desert over a distance of more than a kilometer. The sculpture is a testament to Serra's ongoing fascination with the relationship between art, landscape, and the human experience. By placing these monumental forms in the vast expanse of the desert, Serra invites viewers to reflect on their own place in the world and to consider the ways in which art can transform our understanding of space and time. Despite his age, Serra shows no signs of slowing down. In interviews, he has expressed his ongoing commitment to his artistic practice and his desire to continue exploring new ideas and possibilities. "I'm still learning," he has said. "I'm still trying to figure out what I'm doing. And I hope I never stop." As Serra enters his ninth decade, his legacy as one of the most important and influential artists of the postwar era seems secure. His work has challenged and inspired generations of artists and viewers, and his contributions to the development of contemporary sculpture will continue to be felt for years to come. At the same time, Serra's work remains as relevant and urgent as ever in a world that is increasingly shaped by technology, globalization, and environmental crisis. His emphasis on the physical and perceptual experience of art, his engagement with the social and political dimensions of public space, and his commitment to pushing the boundaries of what is possible with industrial materials all speak to the ongoing importance of art in shaping our under

Richard Serra, born on November 2, 1938, in San Francisco, California, is an American artist known for his monumental, site-specific sculptures made of industrial materials, particularly Cor-Ten steel. His work has redefined the boundaries of sculpture and has had a profound impact on the art world, making him one of the most influential and celebrated artists of the postwar era. Early Life and Education Serra grew up in a working-class family in San Francisco. His father, Tony Serra, was a Spanish-native who worked as a pipe-fitter in the shipyards, while his mother, Gladys Feinberg, was a Russian Jewish immigrant. From an early age, Serra showed an interest in art and was encouraged by his parents to pursue his passion. After graduating from Lowell High School in 1957, Serra attended the University of California, Berkeley, where he studied English literature. He also took art classes and was introduced to the work of Abstract Expressionist painters such as Willem de Kooning and Jackson Pollock, which would greatly influence his artistic development. In 1961, Serra graduated from Berkeley with a Bachelor of Arts degree in English literature. He then traveled to Europe, where he spent a year studying at the Accademia di Belle Arti in Florence, Italy. During this time, he was exposed to the works of Italian Renaissance artists, as well as the avant-garde art scene in Europe. Upon returning to the United States, Serra enrolled in the Master of Fine Arts program at Yale University. There, he studied under the influential art theorist and critic, Josef Albers, who had a profound impact on his artistic philosophy. Serra graduated from Yale in 1964 with an MFA in painting. Early Career and Artistic Development After completing his studies, Serra moved to New York City, where he became involved in the vibrant art scene of the 1960s. He worked as a painter and a sculptor, experimenting with various materials and techniques. In 1966, he began creating sculptures using non-traditional materials such as rubber, neon, and lead, which he often installed directly on the floor or wall of the gallery space. Serra's early sculptures were influenced by the minimalist and conceptual art movements of the time. He was interested in the inherent properties of materials and the ways in which they could be manipulated to create new forms and experiences. His work often challenged traditional notions of sculpture as a static, object-based medium and instead emphasized the viewer's physical and perceptual experience of the work. In 1968, Serra created his first large-scale outdoor sculpture, "To Encircle Base Plate Hexagram, Right Angles Inverted," which consisted of a steel plate measuring 26 feet in diameter, with a hexagonal hole cut into the center. The sculpture was installed on a beach in Long Island, New York, and was designed to be experienced by walking around and through it. Throughout the late 1960s and early 1970s, Serra continued to explore the possibilities of large-scale sculpture using industrial materials such as steel, lead, and concrete. He began to create works that were site-specific, meaning that they were designed to respond to and engage with the unique characteristics of the location in which they were installed. One of Serra's most famous site-specific works from this period is "Shift," which he created in 1970-72. The sculpture consists of six large concrete walls, each measuring 60 feet long and 10 feet high, that are arranged in a zigzag pattern across a field in King City, Ontario, Canada. The walls create a sense of movement and rhythm as the viewer walks through the work, and the shifting perspectives and sight lines create a dynamic and immersive experience. International Recognition and Public Commissions In the mid-1970s, Serra began to receive international recognition for his work. He was invited to create large-scale public sculptures in cities around the world, including Barcelona, Berlin, and Tokyo. These commissions allowed him to work on an even larger scale and to engage with the unique social, political, and historical contexts of each location. One of Serra's most famous public sculptures is "Tilted Arc," which he created in 1981 for the Federal Plaza in New York City. The sculpture consisted of a single, curved steel plate that measured 120 feet long and 12 feet high, and was installed in the center of the plaza. The sculpture was controversial from the start, with many people complaining that it disrupted the flow of pedestrian traffic and created a sense of unease and disorientation. In 1985, the U.S. General Services Administration held a public hearing to decide the fate of "Tilted Arc." Despite Serra's arguments that the sculpture was an integral part of the site and could not be removed without destroying its meaning and integrity, the hearing ultimately resulted in a decision to remove the sculpture. The controversy surrounding "Tilted Arc" sparked a national debate about the role of public art and the relationship between artists, audiences, and the government. Despite the controversy, Serra continued to receive commissions for large-scale public sculptures throughout the 1980s and 1990s. Some of his most notable works from this period include "The Matter of Time" (1994-2005), a series of eight massive steel sculptures installed in the Guggenheim Museum Bilbao in Spain, and "Snake" (1994-1997), a 180-foot-long steel sculpture installed in the Guggenheim Museum in Bilbao. In addition to his public commissions, Serra also continued to create smaller-scale sculptures and works on paper throughout his career. His drawings and prints often explore similar themes and ideas as his sculptures, such as the relationship between form, space, and the viewer's perception. Later Career and Legacy In the 2000s and 2010s, Serra continued to create monumental sculptures and installations that pushed the boundaries of what was possible with industrial materials. Some of his most notable works from this period include "7" (2011), a series of seven massive steel sculptures installed in Doha, Qatar, and "East-West/West-East" (2014), four steel plates installed in the Qatari desert that measure up to 55 feet tall and span over a kilometer in length. Serra's work has been widely exhibited and collected by major museums and institutions around the world, including the Museum of Modern Art in New York, the Tate Modern in London, and the Pompidou Center in Paris. He has received numerous awards and honors throughout his career, including the Leone d'Oro for lifetime achievement at the Venice Biennale in 2001 and the Presidential Medal of Arts in 2010. In addition to his artistic practice, Serra has also been an influential teacher and mentor to generations of younger artists. He has taught at Yale University, the California Institute of the Arts, and the School of Visual Arts in New York, among other institutions. Serra's legacy as an artist is one of innovation, experimentation, and a deep commitment to the physical and perceptual experience of art. His work has had a profound impact on the development of contemporary sculpture and has challenged traditional notions of what art can be and how it can engage with the world around us. In interviews and writings throughout his career, Serra has emphasized the importance of the viewer's direct experience of his work. He has argued that sculpture should not be seen as a static object to be looked at from a distance, but rather as a dynamic and immersive environment that the viewer can enter into and engage with on a physical and perceptual level. Serra's emphasis on the viewer's experience has had a profound influence on the development of installation art and site-specific sculpture in the late 20th and early 21st centuries. His work has inspired generations of artists to think beyond the traditional boundaries of sculpture and to explore new ways of engaging with space, materials, and the human body. In recent years, Serra has continued to push the boundaries of what is possible with industrial materials and large-scale sculpture. In 2015, he completed "East-West/West-East," his largest and most ambitious work to date. The sculpture consists of four massive steel plates, each measuring up to 55 feet tall and weighing up to 220 tons, installed in the Qatari desert over a distance of more than a kilometer. The sculpture is a testament to Serra's ongoing fascination with the relationship between art, landscape, and the human experience. By placing these monumental forms in the vast expanse of the desert, Serra invites viewers to reflect on their own place in the world and to consider the ways in which art can transform our understanding of space and time. Despite his age, Serra shows no signs of slowing down. In interviews, he has expressed his ongoing commitment to his artistic practice and his desire to continue exploring new ideas and possibilities. "I'm still learning," he has said. "I'm still trying to figure out what I'm doing. And I hope I never stop." As Serra enters his ninth decade, his legacy as one of the most important and influential artists of the postwar era seems secure. His work has challenged and inspired generations of artists and viewers, and his contributions to the development of contemporary sculpture will continue to be felt for years to come. At the same time, Serra's work remains as relevant and urgent as ever in a world that is increasingly shaped by technology, globalization, and environmental crisis. His emphasis on the physical and perceptual experience of art, his engagement with the social and political dimensions of public space, and his commitment to pushing the boundaries of what is possible with industrial materials all speak to the ongoing importance of art in shaping our under

Richard Serra, born on November 2, 1938, in San Francisco, California, is an American artist known for his monumental, site-specific sculptures made of industrial materials, particularly Cor-Ten steel. His work has redefined the boundaries of sculpture and has had a profound impact on the art world, making him one of the most influential and celebrated artists of the postwar era. Early Life and Education Serra grew up in a working-class family in San Francisco. His father, Tony Serra, was a Spanish-native who worked as a pipe-fitter in the shipyards, while his mother, Gladys Feinberg, was a Russian Jewish immigrant. From an early age, Serra showed an interest in art and was encouraged by his parents to pursue his passion. After graduating from Lowell High School in 1957, Serra attended the University of California, Berkeley, where he studied English literature. He also took art classes and was introduced to the work of Abstract Expressionist painters such as Willem de Kooning and Jackson Pollock, which would greatly influence his artistic development. In 1961, Serra graduated from Berkeley with a Bachelor of Arts degree in English literature. He then traveled to Europe, where he spent a year studying at the Accademia di Belle Arti in Florence, Italy. During this time, he was exposed to the works of Italian Renaissance artists, as well as the avant-garde art scene in Europe. Upon returning to the United States, Serra enrolled in the Master of Fine Arts program at Yale University. There, he studied under the influential art theorist and critic, Josef Albers, who had a profound impact on his artistic philosophy. Serra graduated from Yale in 1964 with an MFA in painting. Early Career and Artistic Development After completing his studies, Serra moved to New York City, where he became involved in the vibrant art scene of the 1960s. He worked as a painter and a sculptor, experimenting with various materials and techniques. In 1966, he began creating sculptures using non-traditional materials such as rubber, neon, and lead, which he often installed directly on the floor or wall of the gallery space. Serra's early sculptures were influenced by the minimalist and conceptual art movements of the time. He was interested in the inherent properties of materials and the ways in which they could be manipulated to create new forms and experiences. His work often challenged traditional notions of sculpture as a static, object-based medium and instead emphasized the viewer's physical and perceptual experience of the work. In 1968, Serra created his first large-scale outdoor sculpture, "To Encircle Base Plate Hexagram, Right Angles Inverted," which consisted of a steel plate measuring 26 feet in diameter, with a hexagonal hole cut into the center. The sculpture was installed on a beach in Long Island, New York, and was designed to be experienced by walking around and through it. Throughout the late 1960s and early 1970s, Serra continued to explore the possibilities of large-scale sculpture using industrial materials such as steel, lead, and concrete. He began to create works that were site-specific, meaning that they were designed to respond to and engage with the unique characteristics of the location in which they were installed. One of Serra's most famous site-specific works from this period is "Shift," which he created in 1970-72. The sculpture consists of six large concrete walls, each measuring 60 feet long and 10 feet high, that are arranged in a zigzag pattern across a field in King City, Ontario, Canada. The walls create a sense of movement and rhythm as the viewer walks through the work, and the shifting perspectives and sight lines create a dynamic and immersive experience. International Recognition and Public Commissions In the mid-1970s, Serra began to receive international recognition for his work. He was invited to create large-scale public sculptures in cities around the world, including Barcelona, Berlin, and Tokyo. These commissions allowed him to work on an even larger scale and to engage with the unique social, political, and historical contexts of each location. One of Serra's most famous public sculptures is "Tilted Arc," which he created in 1981 for the Federal Plaza in New York City. The sculpture consisted of a single, curved steel plate that measured 120 feet long and 12 feet high, and was installed in the center of the plaza. The sculpture was controversial from the start, with many people complaining that it disrupted the flow of pedestrian traffic and created a sense of unease and disorientation. In 1985, the U.S. General Services Administration held a public hearing to decide the fate of "Tilted Arc." Despite Serra's arguments that the sculpture was an integral part of the site and could not be removed without destroying its meaning and integrity, the hearing ultimately resulted in a decision to remove the sculpture. The controversy surrounding "Tilted Arc" sparked a national debate about the role of public art and the relationship between artists, audiences, and the government. Despite the controversy, Serra continued to receive commissions for large-scale public sculptures throughout the 1980s and 1990s. Some of his most notable works from this period include "The Matter of Time" (1994-2005), a series of eight massive steel sculptures installed in the Guggenheim Museum Bilbao in Spain, and "Snake" (1994-1997), a 180-foot-long steel sculpture installed in the Guggenheim Museum in Bilbao. In addition to his public commissions, Serra also continued to create smaller-scale sculptures and works on paper throughout his career. His drawings and prints often explore similar themes and ideas as his sculptures, such as the relationship between form, space, and the viewer's perception. Later Career and Legacy In the 2000s and 2010s, Serra continued to create monumental sculptures and installations that pushed the boundaries of what was possible with industrial materials. Some of his most notable works from this period include "7" (2011), a series of seven massive steel sculptures installed in Doha, Qatar, and "East-West/West-East" (2014), four steel plates installed in the Qatari desert that measure up to 55 feet tall and span over a kilometer in length. Serra's work has been widely exhibited and collected by major museums and institutions around the world, including the Museum of Modern Art in New York, the Tate Modern in London, and the Pompidou Center in Paris. He has received numerous awards and honors throughout his career, including the Leone d'Oro for lifetime achievement at the Venice Biennale in 2001 and the Presidential Medal of Arts in 2010. In addition to his artistic practice, Serra has also been an influential teacher and mentor to generations of younger artists. He has taught at Yale University, the California Institute of the Arts, and the School of Visual Arts in New York, among other institutions. Serra's legacy as an artist is one of innovation, experimentation, and a deep commitment to the physical and perceptual experience of art. His work has had a profound impact on the development of contemporary sculpture and has challenged traditional notions of what art can be and how it can engage with the world around us. In interviews and writings throughout his career, Serra has emphasized the importance of the viewer's direct experience of his work. He has argued that sculpture should not be seen as a static object to be looked at from a distance, but rather as a dynamic and immersive environment that the viewer can enter into and engage with on a physical and perceptual level. Serra's emphasis on the viewer's experience has had a profound influence on the development of installation art and site-specific sculpture in the late 20th and early 21st centuries. His work has inspired generations of artists to think beyond the traditional boundaries of sculpture and to explore new ways of engaging with space, materials, and the human body. In recent years, Serra has continued to push the boundaries of what is possible with industrial materials and large-scale sculpture. In 2015, he completed "East-West/West-East," his largest and most ambitious work to date. The sculpture consists of four massive steel plates, each measuring up to 55 feet tall and weighing up to 220 tons, installed in the Qatari desert over a distance of more than a kilometer. The sculpture is a testament to Serra's ongoing fascination with the relationship between art, landscape, and the human experience. By placing these monumental forms in the vast expanse of the desert, Serra invites viewers to reflect on their own place in the world and to consider the ways in which art can transform our understanding of space and time. Despite his age, Serra shows no signs of slowing down. In interviews, he has expressed his ongoing commitment to his artistic practice and his desire to continue exploring new ideas and possibilities. "I'm still learning," he has said. "I'm still trying to figure out what I'm doing. And I hope I never stop." As Serra enters his ninth decade, his legacy as one of the most important and influential artists of the postwar era seems secure. His work has challenged and inspired generations of artists and viewers, and his contributions to the development of contemporary sculpture will continue to be felt for years to come. At the same time, Serra's work remains as relevant and urgent as ever in a world that is increasingly shaped by technology, globalization, and environmental crisis. His emphasis on the physical and perceptual experience of art, his engagement with the social and political dimensions of public space, and his commitment to pushing the boundaries of what is possible with industrial materials all speak to the ongoing importance of art in shaping our under

Richard Serra - Audio Biography

以创作者的眼光感悟艺术背后的灵性，以哲学家的心态漫谈美学与收藏之道。褪去一切桎梏的枷锁，让心在创造力的源头中沉浸，如泥牛般豁然入海。

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