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Shel Silverstein discusses his books and children's literature, and art. Shel Silverstein discusses his contemporaries, art, and life experiences.
Shel Silverstein discusses his books "Lafcadio: The Lion Who Shot Back" and "Uncle Shelby's ABZ Book".. Shel Silverstein discusses his books, children's literature, and cartoonists.
Artist and author Scott McCloud discusses and reads from his book “Understanding Comics: The Invisible Art.” This discussion focuses heavily on the history of comics, or sequential art, and notable figures using this artform. Studs plays "Seven Studies on Themes of Paul Klee: 4. The Twittering Machine" - Gunther Schuller (1966).
Art historian Roxana Robinson discusses and reads from her book “Georgia O'Keeffe: A Life.” Robinson discusses the different eras of painting O’Keeffe went through during her lifetime and the outside forces that inspired these changes in subject matter, such as her attending the Art Students League of New York, her moving to Santa Fe, and her relationship with Alfred Stieglitz. Studs plays “Tosca, Act II: Vissi d’arte, vissi d’amore” - Renata Tebaldi, George London, Francesco Molinari-Pradelli (1959).
Writer Paul Theroux discusses his book “Picture Palace” and the meaning of a photograph with Studs Terkel. Both Theroux and Terkel read excerpts from Theroux’s book, and an audio clip of a photographer discussing what photography means to them is played.
After having received the Caldecott Medal for "Where the Wild Things Are," Maurice Sendak knew he had to do a different kind of book. Sendak recalled his trips to Brooklyn as a child and how going out to eat was a huge treat. From there, Sendak's book, "Night Kitchen," was born.
Jules Feiffer discusses and reads from his children's graphic novel, "The Man in the Ceiling." The book has a central theme of overcoming failure and is slightly autobiographical in nature, with a comic book artist as its main character and author. Studs plays "Golliwog's Cakewalk" - Claude Debussy (1906-1908).
Discussing the book "Shannon" with the author Gordon Parks.
When looking at the set design, David Hockney, doesn’t want the viewer to see a tree but to see “tree-ness”. A true fan of music, but Hockney reveals that he is unable to paint if there’s music playing in the background. Hockney said it’s important to stay for more than opening night of “Turandot”. To see the opera on different nights, from different seats in the audience, allows him to make his current work and/or future work better. Program also includes an excerpt of an interview with British poet Stephen Spender 4:56 to 5:51.
According to David Hockney, all photographs have perspective in them. With pictures, there is no time and there are no close ups, said Hockney. As for a picture on the television, Hockney said a picture of grief stricken poverty can bring on an emotional toll but then because the next picture of image appears, we immediately forget about the poverty image.