Accession: Homeward Trailer

A portrait is so much more than a space, a subject, and a keen eye. It’s a place, a person, and a photographer’s truth.

Un retrato es muchísimo más que un espacio, un sujeto y un buen ojo. Es un lugar, una persona y la verdad de un fotógrafo.

The congregation gathers on the banks of the river to be baptized. An audio fiction based on Baptism Study by Benny Andrews. Content Warning: There are sound effects simulating being underwater.

A room where the art, and the artist, feel perfectly at home. A conversation on starts. An exploration of the Calder Tower at the National Gallery in D.C.

We've got so many incredible pieces of art to see, museums to visit, people to meet, and stories to hear on this, the second season of Accession, which we're calling Homeward. We have a long journey ahead, but the road trip starts next Thursday January 16th, right here on this feed. We can't wait to see you on the road, and in the meantime, Welcome to Accession.

An unfinished piece, two types of silence, an unfinished peace.

Art contains exactly half of an old and powerful magic. It can build entire worlds from nothing but paint and canvas, tell epic stories inside a single frozen moment, and transport us across time, space, and ourselves. This show is about making that magic. Welcome to Accession.

T.H. Ponders sits down with Regina Merson, founder and creator of the makeup company Reina Rebelde to talk about starting a business, the art of makeup, Frida Kahlo and the intersection of makeup and Latinx culture.

This episode features recordings collected from the attendees of our live event at the Chihuly Gardens in Seattle, Washington at Podcon 2! Featuring Jamie Price, Hannah Wright, Erin Sellers, Ollie Morris, Gavin Gaddis, Elena Fernández Collins, V Silverman, Amber Rose, and Wil Williams. For links to their work and images of the art they were reacting to, head over to accession.fm.

I want to share a secret with you. But you cannot tell anyone... This episode looks at Night by Aristide Maillol from the collection of the Metropolitan Museum of Art, accession number 1950.100.