This week's Modern Art Notes Podcast features Terry Winters, who is showing collages and eleven new paintings at New York's Matthew Marks Gallery. The exhibition is on view through April 14. Winters was the subject of a Lisa Phillips-curated mid-career survey at the Whitney Museum of American Art in 1992, and in 2001 Nan Rosenthal organized a survey of his prints for the Metropolitan Museum of Art.

In the show's second segment, I talk with Isabelle Dervaux, the curator of modern and contemporary drawings at New York's Morgan Library. Dervaux's new show is a survey of Dan Flavin's drawings. It's on view through July 1.

This week's Modern Art Notes Podcast features artist Doug Wheeler, one of the pioneers of light-and-space art. A major Wheeler 'infinity environment' installation is on view now at Chelsea's David Zwirner Gallery. Also, a major Wheeler was just acquired by the Museum of Contemporary Art San Diego, which featured Wheeler prominently in its light-and-space survey "Phenomenal." 

In the show's second segment, Helen A. Harrison, the director of the Pollock-Krasner House and Study Center joins me to talk about a new exhibition she's curated for the Archives of American Art in Washington. Titled "Memories Arrested in Space," the show comes from the AAA's collection and celebrates the 100th anniversary of Pollock's birth.

This week's Modern Art Notes Podcast features trickster-cum-artist Tom Friedman, whose first New York show in six years opens this weekend at Chelsea gallery Luhring Augustine. Friedman is also included in "Lifelike," a major exhibition opening this month at the Walker Art Center. The show will travel to the New Orleans Museum of Art, MCASD and to the Blanton. 

In the show's second segment, Pulitzer Foundation for the Arts curator Francesca Herndon-Consagra and I discuss "Reflections of the Buddha," on view at the Pulitzer through March 10. The museum recently published its online catalogue for the show. 

This week's Modern Art Notes Podcast features sculptor Mark Handforth, whose work is on view at the Museum of Contemporary Art North Miami in the survey exhibition, "Mark Handforth: Rolling Stop." 

In the show's second segment, LACMA curator Sofia Sanabrais and I discuss the seemingly unlikely story of how exactly Japanese screen painting came to influence Mexican painters during the Spanish colonial period.

Larry Bell joins me to discuss his career as one of the foremost sculptors of the post-war period. Installations of Bell's work in Pacific Standard Time exhibitions, including in "Phenomenal: California Light, Space, Surface" at the Museum of Contemporary Art San Diego (see this week's banner), were among the highlights of the series. PST especially revealed Bell, 72, as a key pivot between California hard-edge painting, light-and-space and minimalism, which Bell anticipated in his sculptural work of the late 1950s. Bell's work is in the collection of virtually every major museum of modern and contemporary art.

This week's Modern Art Notes Podcast features New York-based artist Shirin Neshat, who joins me to discuss the art she's made in response to Iran's Green Revolution and the Arab Spring. An exhibition of Neshat's work is on view at Barbara Gladstone Gallery in New York through February 11.

Neshat has been the subject of major survey exhibitions at museums in Spain, Germany, England, Italy, Mexico, Canada and the United States. Among many other honors, She won the Silver Lion at the 2009 Venice International Film Festival for her movie "Women Without Men." Next year the Detroit Institute of Arts will present a major retrospective of her work.

This week's program also features Museum of Fine Arts Houston curator and MFAH International Center for the Arts of the Americas director Mari Carmen Ramirez. Today the ICAA launches a new project: Documents of 20th-century Latin American and Latino Art, a major online archive that will include 10,000 primary source documents about Latin American and Latino modern and contemporary art.

Artist Zoe Strauss joins me to discuss the new exhibition that surveys her 10-year "Under I-95" project at the Philadelphia Museum of Art. The show opens on Saturday and is on view through April 22. A terrific catalogue accompanies the exhibition and includes particularly strong essays by Strauss and exhibition curator Peter Barberie. Strauss and the Philly Museum have also installed 54 billboards featuring her work throughout Philadelphia. The museum has set up a dedicated website for the billboard project. It includes images of the billboards, a map and even some help with driving the circuit. Zoe Strauss's own website/blog is here.

This week's draft features artist Kianja Strobert, whose first New York solo show is on view at Zach Feuer Gallery through Saturday. Clyfford Still is one of Strobert's major influences, so she and I draft some favorite Still paintings from the Metropolitan Museum of Art, the Albright-Knox, SFMOMA and the Hirshhorn.

This week's Modern Art Notes Podcast features Los Angeles Times art critic Christopher Knight, who joins me to for a look at the Pacific Standard Time series of exhibitions in southern California.

In this week's draft, Ed Schad discusses  his story in this week's LA Weekly, "Hastings Plastics: Legendary Maker of Sculptures for L.A. Artists Closes After 55 Years." In the story and on the program, Schad explains how and why Hastings was so important to light-and-space artists, and picks three of his favorite Hastings-related pieces.

This week's Modern Art Notes Podcast features Huntington curator Jennifer A. Watts, a leading expert on Carleton Watkins. Watts contributed two essays to "Carleton Watkins: The Complete Mammoth Photographs," which was recently published by the Getty. I reviewed the book here and included it in my 2011 top ten list here.

Watts's essays address two of Watkins's lesser-known series: his California missions photographs and his pictures of southern California and Kern County. The Huntington has over 300 Watkins mammoth-plate pictures and hundreds of other Watkinses, making it the second-largest repository of Watkins' art.

In this week's draft, The Stranger art critic Jen Graves and I burrow into "Carleton Watkins: The Complete Mammoth Photographs" to pick some favorite individual artworks.

This week’s program is a very special, seasonal episode, a show that focuses on what the holidays are all about: Shopping!

My guest is artist Brian Ulrich, whose work examines American consumerism. His work is the subject of “Brian Ulrich: Copia — Retail, Thrift and Dark Stores, 2001-2011,” a solo exhibition on view now at the Cleveland Museum of Art. Aperture just published his new book, “Is This Place Great or What,” which features works from the “Copia” series.

For this week's draft, I'm joined by Andrew Russeth, who writes about art for the New York Observer and who edits the paper's visual art website, GalleristNY. His personal website is the fantastic 16 Miles of String. On the occasion of the Frick Collection opening a new space, Andrew and I will discuss our favorite single galleries in American museums.

This week's Modern Art Notes Podcast features biographer and critic Mark Stevens, one of the top experts on the life and art of Willem de Kooning. Along with co-author Annalyn Swan, Stevens wrote "de Kooning: An American Master," which won the 2005 Pulitzer Prize for biography. Prior to writing "de Kooning," Stevens was the art critic for New York magazine.

In this week's draft, Charlotte Eyerman joins me to discuss her Pacific Standard Time exhibition"Artistic Evolution: Southern California Artists at the Natural History Museum of Los Angeles County." Eyerman is the American director of the French Regional and American Museum Exchange and also works as an independent curator. She and I talk about how a many important artists, including Robert Irwin, Larry Bell and more, showed early works at the annual exhibitions of what is now the Natural History Museum, and how that work presages their more well-known art.

This week's Modern Art Notes Podcast features MoMA curator Leah Dickerman, who has organized "Diego Rivera: Murals for the Museum of Modern Art." The exhibition is on view until May 14. Rivera was a staunch communist and his murals include scathing critiques of American-style capitalism during The Great Depression -- and of the Rockefeller family, which lavishly supported both MoMA and Rivera himself. The show -- and the conversation I have with Dickerman -- resounds with echoes of today's American economic situation.

In this week's draft, Indianapolis Museum of Art curator Lisa Freiman joins me to discuss which artists might represent the United States at the next Venice Biennale. The State Department is currently reviewing nominations for 2013. Freiman was the commissioner of the 2011 pavilion, at which the U.S. exhibited Allora and Calzadilla.

Jennifer Steinkamp was the subject of a 2006 mid-career survey organized by the San Jose Museum of Art and she's exhibited all over the world, including in the Corcoran, SITE Santa Fe, Gwangju and Istanbul Biennials. Her work is on view now at the New Orleans Museum of Art as part of Prospect 2, the New Orleans-based biennial organized by curator Dan Cameron. A commission that she created for the Museum of Contemporary Art San Diego is on view at museum's downtown Jacobs Building.

In this week's draft, School of the Art Institute of Chicago professor and chair of art history, theory and criticism David Raskin and I discuss artworks in the Museum of Contemporary Art Chicago exhibition "The Language of Less (Then and Now)." Raskin wrote an essay for the show's catalogue. 

The American painter John Marin is typically regarded as one of the two or three greatest American modernists. Since Cezanne, no painter has made watercolors that are as vibrant as Marin's, and you'd be hard-pressed to find any artist who made the medium as central to his experiments as Marin did. Marin didn't just paint watercolors, he collaged them, scuffed them, drew on them and pushed watercolor as far as he could.

Then, when Marin was 63 years old, he seems to have had a minor crisis related to his potential legacy. He wondered if his watercolors would be enough to secure his place in history. In 1933 he bought a house in Cape Split, Maine -- and started painting in oil.

An exhibition on view now at the Amon Carter Museum of American Art in Fort Worth explores the work Marin made between 1933 and the end of his life twenty years later, demonstrating how he tackled oil paint even as he continued in watercolor. The show was co-organized for the Portland Museum of Art and by the Addison Gallery of American Art by one of the top scholars of American modernism and this week's podcast guest,Debra Bricker Balken. Before curating"John Marin: Modernism at Midcentury,"Balken organized exhibitions of Arthur Doveand of Dove and Georgia O'Keeffe. [Image: John Marin, Hurricane, 1944. Collection of the Indianapolis Museum of Art. A detail from this painting is in this week's MANPodcast.combanner.]

In our conversation Balken and I discuss:

• Why John Marin bought his house in Cape Split and how it impacted his work;
• Why he started painting in oil;
• How much attention he paid to the rise of abstract expressionism -- and how much the abstract expressionists paid to him;
• Whether Marin painted ambidextrously (!);
• Marin's now-rare painted frames; and
• Whether Marin had a significant impact on Jackson Pollock.

In this week's draft segment, Ed Schad and I look at artists whose work is featured in exhibitions and scholarship launched as part of the Getty-funded Pacific Standard Time initiative and who we think deserve in-depth, sustained attention from curators, critics and collectors. Schad is an assistant curator at The Broad Art Foundation and a critic who publishes in ArtSlant magazine, in LA Weekly and on I Call It ORANGES.

This week's Modern Art Notes Podcast features artist Chris Burden and Baltimore Museum of Art curator Kristen Hileman. 

A star of the Getty-funded Pacific Standard Time series of exhibitions and related scholarship — only John Baldessari and Ed Ruscha are included in more PST shows — Burden is one of our most important artists. His Urban Light (2008) at the Los Angeles County Museum of Art is arguably America’s most popular public artwork. Later this fall, LACMA will open a second major Burden installation: Metropolis II (which is on a 10-year loan to the institution from a private collector). In 2008 Burden installed What My Dad Gave Me, a six-story sculptural installation commissioned by the Public Art Fund, at Rockefeller Center in 2008. He has been the subject of several retrospective exhibitions, including in 1988 at the Newport Harbor Art Museum, and at the MAK-Austrian Museum of Applied Arts, Vienna in 1996.

Among the highlights of our conversation:

• Burden explains how Metropolis II was made;
• He explains how his 'moon satellite' is becoming more possible;
• He addresses whether or not he would re-perform his iconic early 1970s performances;
• We learn what kinds of fantastic and unexpected objects are lying around his southern California studio and property; and
• What role risk plays in his art now.

In the program's second segment, Hileman and I discuss our favorite long-term installations at American art museums. Next year, the BMA will unveil a major new Sarah Oppenheimer installation.

Special thanks to this weeks' advertisers: The Museum of Contemporary Art San Diego, The Menil Collection, the Museum of Fine Arts, Houston and the Amon Carter Museum of American Art.