This monthly podcast brings listeners joy and comfort to their day. The Akron Art Museum’s staff shares insights from their own lives combined with conversations about the collection and interviews with regional artists and musicians. Join us the first Friday of every month at noon. LISTEN NOW! Adventure Gina talks about adventure with Museum visitors. Deep Dive with Sloane Sloan explores Maurizio Pellegrin’s sculpture, The Sea. Shop Talk with Muti Relief Podcast Music Jordan King is a multi-instrumentalist based in Cleveland, Ohio. His various recording
A girl sitting against a wall? Very normal. But what if her world is totally still, totally white, and ends abruptly in the middle of a gallery? Very unusual. In making his sculptures, George Segal thrived on this mix of everyday familiarity and unexpected strangeness. Segal used living models to create his sculptures. He wrapped them in plaster-soaked bandages and let the materials harden. He then cut the plaster away from the models’ bodies and reassembled the hollow forms. The result: Segal’s white figures seem
What do you think Inverted Q would taste like? Maybe a little like strawberry?
Wilson’s largest and most complex assemblage, Retrospective summarizes and celebrates the many different types of objects that she incorporated into her work over the course of more than fifty years.
In the fourth part of our five-part interview, Dread & Delight Artist Timothy Horn, creator of “Mother-Lode” discusses what it was like working with sugar as an artistic medium. Another dramatic work included in the exhibit is “Mother-Load,” created by the artist Timothy Horn. The sculpture is a child-sized, Cinderella-like carriage that was created using a variety of materials, but most notably it is coated in a layer of rock sugar and shellac. The piece was created originally for a show at the de Young Museum in
In the fourth part of our five-part interview, Dread & Delight Artist Timothy Horn, creator of “Mother-Lode” discusses what it was like working with sugar as an artistic medium. Another dramatic work included in the exhibit is “Mother-Load,” created by the artist Timothy Horn. The sculpture is a child-sized, Cinderella-like carriage that was created using a variety of materials, but most notably it is coated in a layer of rock sugar and shellac. The piece was created originally for a show at the de Young Museum in
In the third of our five-part interview, Dread & Delight Artist Timothy Horn, creator of “Mother-Lode” discusses his inspiration for the carriage itself. Another dramatic work included in the exhibit is “Mother-Load,” created by the artist Timothy Horn. The sculpture is a child-sized, Cinderella-like carriage that was created using a variety of materials, but most notably it is coated in a layer of rock sugar and shellac. The piece was created originally for a show at the de Young Museum in San Francisco. It was inspired by
In the second of our five-part interview, Dread & Delight Artist Timothy Horn, creator of “Mother-Lode” discusses how he became interested in fairy tales. Another dramatic work included in the exhibit is “Mother-Load,” created by the artist Timothy Horn. The sculpture is a child-sized, Cinderella-like carriage that was created using a variety of materials, but most notably it is coated in a layer of rock sugar and shellac. The piece was created originally for a show at the de Young Museum in San Francisco. It was inspired
In the first of our five-part interview, Dread & Delight Artist Timothy Horn, creator of “Mother-Lode” discusses his creative inspiration and educational background. Another dramatic work included in the exhibit is “Mother-Load,” created by the artist Timothy Horn. The sculpture is a child-sized, Cinderella-like carriage that was created using a variety of materials, but most notably it is coated in a layer of rock sugar and shellac. The piece was created originally for a show at the de Young Museum in San Francisco. It was
Jackie Winsor (born 1941, St. John’s Island, Newfoundland, Canada) assembles sculptures out of unexpected components. She prefers organic materials such as rope, hemp, branches and logs or building supplies like concrete, nails and bricks. Not one to shy away from difficult physical work, Winsor constructs her minimalist geometric forms through repetitive manual labor. For #2 Copper, the artist built a grid out of 36 narrow pieces of wood, arranged in three sections of concentric squares. She wrapped each intersection with #2 industrial copper wire, forming