Podcasts about Albert Museum

100 years ago this year, on a grey January day in 1926, the very first public demonstration of a new piece of technology was given in Soho, London by John Logie Baird. Called by its inventor a televisor, it would soon become a ubiquitous presence in flats and houses across the world known as a television. It's been reported this week that after 100 years of the device showing content designed for it, the television is now the preferred medium for people of all ages to watch algorithm-driven content on Youtube. ….. one of the biggest creators of content in the world It's no longer the case that we, the viewers, watch only what production companies make for us. We film ourselves on our phones, upload them ourselves and watch ourselves. The Victoria and Albert Museum in London has just recognised the importance of short form video as a cultural development by exhibiting the very first video uploaded onto the platform. Entitled ‘Me at the Zoo', it's a 19 second clip that has been viewed 380 million times since it was first posted in April 2005. The fact that we are watching, even on our traditional televisions whatever we want when we want is part of a development that has been happening for some time. It's a development that reveals to us what we value, what we will pay for, what we will put effort into. It appears to tell us that what we want more than anything - is to maximise our ability to choose. It is one of the axioms of our contemporary culture that individual choice is not only desirable but essential for a fulfilling happy life. And that's of course true. At the opposite extreme, a person who is not able to exercise any choice is enslaved, something that is both immoral and illegal. Freedom to choose how we live, what we eat, what we do, is a fundamental aspect of human nature not least according to Christian teaching, which insists that human beings have had free will, from the Garden of Eden onwards, made as we are in the image of God. But Christian spiritual practice will also teach us to stay alert to the illusions and deceptions that accompany the elevation of choice above all else. And what we now know is that as we're scrolling, we're not so much acting as a free human being, but more as an impressionable consumer, subject to the power of the algorithm. Fundamental questions are raised by an ethic that pursues choice above everything else, especially when it sits in the corner of our living space. The new tipping point we've reached faces us afresh with the questions we face when we choose: in whose interest, to whose benefit and, ultimately together, to what end.

In the wide realm of Shakespeare worship, the house in Stratford-upon-Avon where William Shakespeare was born in 1564 – known colloquially as the 'Birthplace' – remains the chief shrine. It's not as romantic as Anne Hathaway's thatched cottage, it's not where he wrote any of his plays, and there's nothing inside the house that once belonged to Shakespeare himself. So why, for centuries, have people kept turning up on the doorstep? In Shakespeare's House: A Window onto his Life and Legacy (Bloomsbury, 2023) Dr. Richard Schoch answers that question by examining the history of the Birthplace and by exploring how its changing fortunes over four centuries perfectly mirror the changing attitudes toward Shakespeare himself. Based on original research in the archives of the Shakespeare Birthplace Trust in Stratford-upon-Avon and the Folger Shakespeare Library in Washington, DC, and featuring two black and white illustrated plate sections which draw on the wide array of material available at the Folger Shakespeare Library and the Victoria and Albert Museum, this book traces the history of Shakespeare's birthplace over four centuries. Beginning in the 1560s, when Shakespeare was born there, it ends in the 1890s, when the house was rescued from private purchase and turned into the Shakespeare monument that it remains today. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the wide realm of Shakespeare worship, the house in Stratford-upon-Avon where William Shakespeare was born in 1564 – known colloquially as the 'Birthplace' – remains the chief shrine. It's not as romantic as Anne Hathaway's thatched cottage, it's not where he wrote any of his plays, and there's nothing inside the house that once belonged to Shakespeare himself. So why, for centuries, have people kept turning up on the doorstep? In Shakespeare's House: A Window onto his Life and Legacy (Bloomsbury, 2023) Dr. Richard Schoch answers that question by examining the history of the Birthplace and by exploring how its changing fortunes over four centuries perfectly mirror the changing attitudes toward Shakespeare himself. Based on original research in the archives of the Shakespeare Birthplace Trust in Stratford-upon-Avon and the Folger Shakespeare Library in Washington, DC, and featuring two black and white illustrated plate sections which draw on the wide array of material available at the Folger Shakespeare Library and the Victoria and Albert Museum, this book traces the history of Shakespeare's birthplace over four centuries. Beginning in the 1560s, when Shakespeare was born there, it ends in the 1890s, when the house was rescued from private purchase and turned into the Shakespeare monument that it remains today. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In the wide realm of Shakespeare worship, the house in Stratford-upon-Avon where William Shakespeare was born in 1564 – known colloquially as the 'Birthplace' – remains the chief shrine. It's not as romantic as Anne Hathaway's thatched cottage, it's not where he wrote any of his plays, and there's nothing inside the house that once belonged to Shakespeare himself. So why, for centuries, have people kept turning up on the doorstep? In Shakespeare's House: A Window onto his Life and Legacy (Bloomsbury, 2023) Dr. Richard Schoch answers that question by examining the history of the Birthplace and by exploring how its changing fortunes over four centuries perfectly mirror the changing attitudes toward Shakespeare himself. Based on original research in the archives of the Shakespeare Birthplace Trust in Stratford-upon-Avon and the Folger Shakespeare Library in Washington, DC, and featuring two black and white illustrated plate sections which draw on the wide array of material available at the Folger Shakespeare Library and the Victoria and Albert Museum, this book traces the history of Shakespeare's birthplace over four centuries. Beginning in the 1560s, when Shakespeare was born there, it ends in the 1890s, when the house was rescued from private purchase and turned into the Shakespeare monument that it remains today. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Chaque jour, en quelques minutes, un résumé de l'actualité culturelle. Rapide, facile, accessible.Notre compte InstagramDES LIENS POUR EN SAVOIR PLUSU2 : Radio France, HuffPost, France Info, NBC News, NRJMe at the Zoo : Euronews, Victoria and Albert Museum, BBCBad Bunny rôle “Porto Rico” : 20 Minutes, Numero, Vogue FranceMark Zuckerberg : Courrier International, Le Monde, RTL, Actus PopFélix Lebrun Marty Supreme : Le HuffPost, Vanity Fair, France BleuGemini Lyria 3 : Google, Numerama, ClubicJacob Elordi James Bond : Mandatory, USA Today, HuffPost UKÉcriture : Eden AyachIncarnation : Eden Ayach Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this wild round of Real News or Fake News on The Jubal Show, the headlines sound too crazy to be true… but are they? Did a “free burrito” billboard really cause massive traffic jams in Chicago? Is YouTube’s very first video now displayed inside the Victoria and Albert Museum? And did a Japanese Olympic figure skater lose her gold medal after an outrageous PowerPoint presentation?

Kyiv's chief negotiator describes US-mediated negotiations with Russia as difficult and complex, but says there has been progress. Also: European football authorities investigate claims of racism in the Champions League match between Real Madrid and Benfica. Investigators looking into the disappearance of Nancy Guthrie say they believe she is being held somewhere close to her home in Arizona. Researchers in Britain assess the threat from the Chikungunya virus in the Asian tiger mosquito, saying it could spread across Europe. The internet page showing the first ever YouTube video is saved for posterity by London's Victoria and Albert Museum. And excitement builds ahead of the debut of Skimo at the Winter Olympics in Italy. The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight. Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment. Get in touch: globalpodcast@bbc.co.uk

Today we revisit a past episode with Lucy Clayton and Dr. Benjamin Wild about the Victoria & Albert Museum's 2021 exhibition Alice: Curiouser and Curiouser, which explored how fashion has found inspiration in the Alice in Wonderland series. Want more Dressed: The History of Fashion?  Our ⁠⁠⁠⁠website⁠⁠⁠⁠ and ⁠⁠⁠⁠classes⁠⁠⁠⁠ Our ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ Our ⁠⁠⁠⁠bookshelf⁠⁠⁠⁠ with over 150 of our favorite fashion history titles Dressed is a part of the ⁠⁠⁠⁠AirWave Media⁠⁠⁠⁠ network Learn more about your ad choices. Visit megaphone.fm/adchoices

Our guest today is the incomparable Kenneth D. King, returning to the Sew & So Podcast after first joining us on Episode 72.Kenneth is a New York–based haute couturier renowned for his mastery of evening wear, couture technique, and design education.Born and raised in Salinas, Kansas, and later moving to Oklahoma, Kenneth's path to fashion excellence led him to earn a degree in fashion merchandising from Central State University and to study patternmaking in San Francisco under Paris-trained Simmin Sethna. His extraordinary career includes selling to elite boutiques such as Maxfield, Wilkes Bashford, and Ultimo, designing for icons like Geena Davis, Cloris Leachman, Bernie Taupin, and Elton John, and having his work featured on red carpets, music videos, and television commercials.Kenneth's creations now reside in the permanent collections of the De Young Museum, LACMA, The Oakland Museum, and London's Victoria and Albert Museum. In addition to designing, he is an Adjunct Assistant Professor at the Fashion Institute of New York, a Contributing Editor for Threads Magazine, an instructor for Craftsy and Burda, and the author of multiple acclaimed books on couture sewing techniques.In this episode, Kenneth joins us to discuss his newest book, Doll Couture – The Red-Carpet Edition, his inspirations, collaborations, and what continues to drive his creativity today. (3:35) Kenneth reminds us how he learned to so and who influenced him.(4:40) He tells about his grandmother and her influence on him.(5:20) He talks about why people are forced to create in a certain style and what can be done to more out of this mold.(7:53) He talks about his new inspirations and gives us a history lesson on new York's Ladies' Mile.(10:26) Learn about Kenneth's collaborations(11:40) What was it like for Kenneth to work with his husband Andrew?(14:23) What's new with Kenneth?(16:07) Learn about Kenneth's new book Doll Couture – The Red-Carpet Edition.(18:15) How is this new book different from the first one?(21:00) Learn about the book's Easter Eggs(21:15) What Red Carpet moments inspired his character's designs?(22:33) Does working on a small-scale change how he thinks about proportions and other considerations?(24:05) What items from doll sized couture will help those creating full-sized garments?(25:20) How long did it take Kenneth to complete his book?(27:06) There was an untraditional path to publishing Kenneth's books…he shares this with us.(31:48) What's it like when he is finally handed his first copy of a new book?(33:40) Kenneth recounts the story of his relationship with Elton John and the hats he created for him.(36:00) What's next for Kenneth?(37:34) What's his dream? And, how can you help?!(38:10)What question didn't we ask that he wished we had asked?(38:33) Reach out to Kenneth at KennethDKing@earthlink.com Be sure to subscribe to, review and rate this podcast on your favorite platform…and visit our website sewandsopodcast.com for more information about today's and all of our Guests.

10 years on from David Bowie's death, we reflect on the life and music of one of the most influential cultural figures of our age, and assess his remarkable legacy. Our panel is Prof Eoin Devereux, Co-Director for the Centre for The Study of Popular Music and Popular Culture at the University of Limerick, Dr Leah Kardos, Senior Lecturer in Music at Kingston University London, and Harriet Reed, Assistant Curator in the Theatre and Performance Department at the Victoria & Albert Museum, and part of the curatorial team behind The David Bowie Centre at the V&A East Storehouse, a permanent home for Bowie's archive.

Paul Scott in print studio with cut Wild Rose detail Paul Scott (b. 1953, United Kingdom) is a UK-based artist, living and working in Cumbria, with a diverse practice and an international reputation. Creating individual pieces that blur the boundaries between fine art, craft, and design, he is well known for his research into printed vitreous surfaces, as well as his characteristic blue-and-white artworks in glazed ceramic. Scott's artworks can be found in public collections around the globe, including the National Museum, Norway; the Victoria and Albert Museum, London, UK; National Museums Liverpool; the Carnegie Museum of Art, Pittsburgh, PA; and the Brooklyn Museum, Brooklyn, NY. Commissioned work can be found in a number of UK museums, as well as in public places in the north of England, including Carlisle, Maryport, Gateshead, and Newcastle upon Tyne. He has also completed large-scale works in Hanoi, Vietnam, and at the Guldagergård public sculpture park in Denmark. A combination of rigorous research, studio practice, curation, writing, and commissioned work ensures that his practice continues to develop. His work is fundamentally concerned with the reanimation of familiar objects, landscape, pattern, and a sense of place. He was professor of ceramics at the Oslo National Academy of the Arts (KHiO) from 2011–2018. Scott received his Bachelor of Art Education and Design from Saint Martin's College and his PhD from the Manchester Institute for Research and Innovation in Art and Design in England. His current research project, New American Scenery, has been supported by an Alturas Foundation artist award, Ferrin Contemporary, and funding from Arts Council England. Cumbrian Blue(s), New American Scenery, Souvenir of Portland OR Black Lives Matter (After Killen & Howard)/Trumpian Campaigne, No.5, 2021. Transfer print collage on partially erased Staffordshire transferware souvenir plate by Rowland & Marsellus, c.190010.25″ Dia. x 1” D Cumbrian Blue(s), New American Scenery, Residual Waste (Texas) No.5/1, 2022Transfer print collage, shell-edged pearlware platter, 13″ H x 17.25″ W x 1.25” D Cumbrian Blue(s), New American Scenery, The Sleep of Reason, Wood Cuts (After Spode’s Woodland/Wild Rose) 2, 2024Transfer print collage on pearlware plate with Kintsugi, 11″ Dia. x 0.5″ D Cumbrian Blue(s), New American Scenery, Sampler Jug, No.7 (After Stubbs), 2021Transfer print collage on pearlware jug, 15″ H x 14″ W x 11.75″ D

The second part of the discussion of embroidery history covers blackwork and Opus Anglicanum, then embroidery samplers and beetle-wing embroidery. Research: Абильда, Айжан. “Scythians are creators of embroidery art.” Qazaqstan Tarihy. May 24, 2019. https://e-history.kz/en/news/show/7178#:~:text=Embroidery%20is%20a%20traditional%20East,a%20wedding%20or%20a%20party. Angus, Jennifer. “Nature’s Sequins.” Cooper Hewitt. Sept. 14, 2018. https://www.cooperhewitt.org/2018/09/14/natures-sequins/ “The art of printing textile.” Musee de L’Impression sur Etoffes. https://www.musee-impression.com/en/the-collection/ Badshah, Nadeem. “Bayeux tapestry to be insured for £800m for British Museum exhibition.” The Guardian. Dec. 27. 2025. https://www.theguardian.com/world/2025/dec/27/bayeux-tapestry-to-be-insured-for-800m-for-british-museum-exhibition “Bayeux Tapestry.” UNESCO. https://www.unesco.org/en/memory-world/bayeux-tapestry “The Bayeux Tapestry.” La Tapisserie de Bayeux. Bayeux Museum. https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/ Binswanger, Julia. “These Delicate Needles Made From Animal Bones May Have Helped Prehistoric Humans Sew Warm Winter Clothing.” Smithsonian. Dec. 11, 2024. https://www.smithsonianmag.com/smart-news/these-delicate-needles-made-from-animal-bones-may-have-helped-prehistoric-humans-sew-warm-winter-clothing-180985601/ Britannica Editors. "Scythian art". Encyclopedia Britannica, 27 May. 2018, https://www.britannica.com/art/Scythian-art “Chasuble (Opus Anglicanum).” The Met. https://www.metmuseum.org/art/collection/search/466660 Chung, Young Yang. “Silken Threads: A History of Embroidery in China, Korea, Japan, and Vietnam.” Abrams. 2005. Daniels, Margaret Harrington. “Early Pattern Books for Lace and Embroidery.” Bulletin of the Needle and Bobbin Club. https://www2.cs.arizona.edu/patterns/weaving/articles/nb33_lac.pdf “DMC.” Textile Research Center Leiden. https://trc-leiden.nl/trc-needles/organisations-and-movements/companies/dmc “Dragon Robe Decoded.” Sotheby’s. May 23, 2019. https://www.sothebys.com/en/articles/dragon-robe-decoded Embroiderers’ Guild. https://embroiderersguild.com/ Embroiderers’ Guild of America. https://egausa.org/ “Embroidery Techniques from Around the World: Crewel.” Embroiderer’ Guild of America. Oct. 28, 2024. https://egausa.org/embroidery-techniques-from-around-the-world-crewel/ Francfort, H.-P., 2020, “Scythians, Persians, Greeks and Horses: Reflections on Art, Culture Power and Empires in the Light of Frozen Burials and other Excavations”, in: , Londres, British Museum, p. 134-155. https://www.academia.edu/44417916/Francfort_H_P_2020_Scythians_Persians_Greeks_and_Horses_Reflections_on_Art_Culture_Power_and_Empires_in_the_Light_of_Frozen_Burials_and_other_Excavations_in_Londres_British_Museum_p_134_155 “Girlhood Embroidery.” Pilgrim Hall Museum. https://www.pilgrimhall.org/girlhood_embroidery.htm Gower, John G., and G.C. Macaulay, ed. “The Complete Works of John Gower.” Clarendon Press. 1901. https://www.gutenberg.org/files/71162/71162-h/71162-h.htm#Page_1 “Introducing Opus Anglicanum.” Victoria and Albert Museum. https://www.vam.ac.uk/articles/about-opus-anglicanum?srsltid=AfmBOor2pOTddjxaPC9AXHvvQuGXD4Tyx9N3zBeISzMSDHX1KnaUnfnL “Introducing the Scythians.” British Museum. May 30, 2017. https://www.britishmuseum.org/blog/introducing-scythians Nazarova, Yevhenia. “Ukraine's Ancient 'River Guardians.'” Radio Free Europe. Oct. 17, 2021. https://www.rferl.org/a/scythian-dig-ukraine-river-guardians-discovery/31507187.html "Ancient Peruvian Textiles." The Museum Journal XI, no. 3 (September, 1920): 140-147. Accessed December 22, 2025. https://www.penn.museum/sites/journal/843/ “Embroidery – a history of needlework samplers.” Victoria & Albery Museum. https://www.vam.ac.uk/articles/embroidery-a-history-of-needlework-samplers “History of The Broderers.” The Worshipful Company of Broderers. https://broderers.co.uk/history-broderers “The History of Britain's Bayeux Tapestry.” Reading Museum. https://www.readingmuseum.org.uk/collections/britains-bayeux-tapestry/history-britains-bayeux-tapestry Kennedy, Maev. “British Museum to go more than skin deep with Scythian exhibition.” The Guardian. May 30, 2017. https://www.theguardian.com/culture/2017/may/30/british-museum-skin-scythian-exhibition-tattoo-empire Lattanzio, Giaga. “Byzantine.” Fashion History Timeline. FITNYC. https://fashionhistory.fitnyc.edu/byzantine/ Leslie, Catherine Amoroso. “Needlework Through History: An Encyclopedia.” Greenwood Press. 2007. Libes, Kenna. “Beetle-Wing Embroidery in Nineteenth-Century Fashion.” Fashion History Timeline. FITNYC. https://fashionhistory.fitnyc.edu/beetle-wing-19thcentury/ Liu Y, Li Y, Li X, Qin L. The origin and dispersal of the domesticated Chinese oak silkworm, Antheraea pernyi, in China: a reconstruction based on ancient texts. J Insect Sci. 2010;10:180. doi: 10.1673/031.010.14140 “Mrs. Jacob Wendell (Mary Barrett, 1832–1912).” The New York Historical. https://emuseum.nyhistory.org/objects/68658/mrs-jacob-wendell-mary-barrett-18321912 Muntz, Eugene and Louisa J. Davis. “A short history of tapestry. From the earliest times to the end of the 18th century.” London. Cassel & Co. 1885. Accessed online: https://archive.org/details/shorthistoryofta00mntz/page/n3/mode/2up Pohl, Benjamin. “Chewing over the Norman Conquest: the Bayeux Tapestryas monastic mealtime reading.” Historical Research. 2025. https://academic.oup.com/histres/advance-article/doi/10.1093/hisres/htaf029/8377922 Puiu, Tibi. “Pristine 2,300-year-old Scythian woman’s boot found in frozen Altai mountains.” ZME Science. Dec. 29, 2021. https://www.zmescience.com/science/scythian-boots-0532/ Razzall, Katie. “Bayeux Tapestry to return to UK on loan after 900 years.” BBC. July 8, 2025. https://www.bbc.com/news/articles/c14ev1z6d5go Royal School of Needlework. https://royal-needlework.org.uk/ Salmony, Alfred. “The Archaeological Background of textile Production in Soviet Russia Territory.” The Bulletin of the Needle and Bobbin Club. Volume 26. No. 2. 1942. https://www2.cs.arizona.edu/patterns/weaving/periodicals/nb_42_2.pdf “Sampler.” Victoria & Albert Museum. https://collections.vam.ac.uk/item/O46183/sampler-jane-bostocke/ Schӧnsperger, Johann. “Ein ney Furmbüchlein. 1525-1528. Met Museum Collection. https://www.metmuseum.org/art/collection/search/354716 Schӧnsperger, Johann. “Ein new Modelbuch … “ 1524. https://www.metmuseum.org/art/collection/search/354660 Shrader, Dustin. “Embroidery Through the Ages.” Impressions. July 28, 2023. https://impressionsmagazine.com/process-technique/embroidery-through-the-ages/39234/#:~:text=The%20Age%2DOld%20Beginning&text=We%20tend%20to%20typically%20think,to%20generation%20across%20the%20millennia. “Silk Roads Programme.” UNESCO. https://en.unesco.org/silkroad/silkroad-interactive-map Sons of Norway's Cultural Skills Program. “Unit 8: Hardanger Embroidery.” 2018. https://www.sofn.com/wp-content/uploads/2018/11/unit8hardanger_rev8.11.pdf “Suzhou Embroidery.” Smithsonian National Museum of Asian Art.” https://asia-archive.si.edu/learn/for-educators/teaching-china-with-the-smithsonian/videos/suzhou-embroidery/ Teall, John L., Nicol, Donald MacGillivray. "Byzantine Empire". Encyclopedia Britannica, 5 Dec. 2025, https://www.britannica.com/place/Byzantine-Empire Warner, Pamela. “Embroidery: A History.” B.T. Bedford, Ltd. 1991. Watt, James C. Y., and Anne E. Wardwell. “When Silk Was Gold: Central Asian and Chinese Textiles.” Metropolitan Museum of Art. Harry N. Abrams. New York. 1997. https://cdn.sanity.io/files/cctd4ker/production/d781d44d3048d49257072d610034400182246d3e.pdf Watt, Melinda. “Textile Production in Europe: Embroidery, 1600–1800.” The Met. Oct. 1, 2003. https://www.metmuseum.org/essays/textile-production-in-europe-embroidery-1600-1800 See omnystudio.com/listener for privacy information.

The first installment of this two-parter covers ancient embroidery around the world, and then focuses on European embroidery, Chinese dragon robes, and the Bayeux Tapestry. Research: Абильда, Айжан. “Scythians are creators of embroidery art.” Qazaqstan Tarihy. May 24, 2019. https://e-history.kz/en/news/show/7178#:~:text=Embroidery%20is%20a%20traditional%20East,a%20wedding%20or%20a%20party. Angus, Jennifer. “Nature’s Sequins.” Cooper Hewitt. Sept. 14, 2018. https://www.cooperhewitt.org/2018/09/14/natures-sequins/ “The art of printing textile.” Musee de L’Impression sur Etoffes. https://www.musee-impression.com/en/the-collection/ Badshah, Nadeem. “Bayeux tapestry to be insured for £800m for British Museum exhibition.” The Guardian. Dec. 27. 2025. https://www.theguardian.com/world/2025/dec/27/bayeux-tapestry-to-be-insured-for-800m-for-british-museum-exhibition “Bayeux Tapestry.” UNESCO. https://www.unesco.org/en/memory-world/bayeux-tapestry “The Bayeux Tapestry.” La Tapisserie de Bayeux. Bayeux Museum. https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/ Binswanger, Julia. “These Delicate Needles Made From Animal Bones May Have Helped Prehistoric Humans Sew Warm Winter Clothing.” Smithsonian. Dec. 11, 2024. https://www.smithsonianmag.com/smart-news/these-delicate-needles-made-from-animal-bones-may-have-helped-prehistoric-humans-sew-warm-winter-clothing-180985601/ Britannica Editors. "Scythian art". Encyclopedia Britannica, 27 May. 2018, https://www.britannica.com/art/Scythian-art “Chasuble (Opus Anglicanum).” The Met. https://www.metmuseum.org/art/collection/search/466660 Chung, Young Yang. “Silken Threads: A History of Embroidery in China, Korea, Japan, and Vietnam.” Abrams. 2005. Daniels, Margaret Harrington. “Early Pattern Books for Lace and Embroidery.” Bulletin of the Needle and Bobbin Club. https://www2.cs.arizona.edu/patterns/weaving/articles/nb33_lac.pdf “DMC.” Textile Research Center Leiden. https://trc-leiden.nl/trc-needles/organisations-and-movements/companies/dmc “Dragon Robe Decoded.” Sotheby’s. May 23, 2019. https://www.sothebys.com/en/articles/dragon-robe-decoded Embroiderers’ Guild. https://embroiderersguild.com/ Embroiderers’ Guild of America. https://egausa.org/ “Embroidery Techniques from Around the World: Crewel.” Embroiderer’ Guild of America. Oct. 28, 2024. https://egausa.org/embroidery-techniques-from-around-the-world-crewel/ Francfort, H.-P., 2020, “Scythians, Persians, Greeks and Horses: Reflections on Art, Culture Power and Empires in the Light of Frozen Burials and other Excavations”, in: , Londres, British Museum, p. 134-155. https://www.academia.edu/44417916/Francfort_H_P_2020_Scythians_Persians_Greeks_and_Horses_Reflections_on_Art_Culture_Power_and_Empires_in_the_Light_of_Frozen_Burials_and_other_Excavations_in_Londres_British_Museum_p_134_155 “Girlhood Embroidery.” Pilgrim Hall Museum. https://www.pilgrimhall.org/girlhood_embroidery.htm Gower, John G., and G.C. Macaulay, ed. “The Complete Works of John Gower.” Clarendon Press. 1901. https://www.gutenberg.org/files/71162/71162-h/71162-h.htm#Page_1 “Introducing Opus Anglicanum.” Victoria and Albert Museum. https://www.vam.ac.uk/articles/about-opus-anglicanum?srsltid=AfmBOor2pOTddjxaPC9AXHvvQuGXD4Tyx9N3zBeISzMSDHX1KnaUnfnL “Introducing the Scythians.” British Museum. May 30, 2017. https://www.britishmuseum.org/blog/introducing-scythians Nazarova, Yevhenia. “Ukraine's Ancient 'River Guardians.'” Radio Free Europe. Oct. 17, 2021. https://www.rferl.org/a/scythian-dig-ukraine-river-guardians-discovery/31507187.html "Ancient Peruvian Textiles." The Museum Journal XI, no. 3 (September, 1920): 140-147. Accessed December 22, 2025. https://www.penn.museum/sites/journal/843/ “Embroidery – a history of needlework samplers.” Victoria & Albery Museum. https://www.vam.ac.uk/articles/embroidery-a-history-of-needlework-samplers “History of The Broderers.” The Worshipful Company of Broderers. https://broderers.co.uk/history-broderers “The History of Britain's Bayeux Tapestry.” Reading Museum. https://www.readingmuseum.org.uk/collections/britains-bayeux-tapestry/history-britains-bayeux-tapestry Kennedy, Maev. “British Museum to go more than skin deep with Scythian exhibition.” The Guardian. May 30, 2017. https://www.theguardian.com/culture/2017/may/30/british-museum-skin-scythian-exhibition-tattoo-empire Lattanzio, Giaga. “Byzantine.” Fashion History Timeline. FITNYC. https://fashionhistory.fitnyc.edu/byzantine/ Leslie, Catherine Amoroso. “Needlework Through History: An Encyclopedia.” Greenwood Press. 2007. Libes, Kenna. “Beetle-Wing Embroidery in Nineteenth-Century Fashion.” Fashion History Timeline. FITNYC. https://fashionhistory.fitnyc.edu/beetle-wing-19thcentury/ Liu Y, Li Y, Li X, Qin L. The origin and dispersal of the domesticated Chinese oak silkworm, Antheraea pernyi, in China: a reconstruction based on ancient texts. J Insect Sci. 2010;10:180. doi: 10.1673/031.010.14140 “Mrs. Jacob Wendell (Mary Barrett, 1832–1912).” The New York Historical. https://emuseum.nyhistory.org/objects/68658/mrs-jacob-wendell-mary-barrett-18321912 Muntz, Eugene and Louisa J. Davis. “A short history of tapestry. From the earliest times to the end of the 18th century.” London. Cassel & Co. 1885. Accessed online: https://archive.org/details/shorthistoryofta00mntz/page/n3/mode/2up Pohl, Benjamin. “Chewing over the Norman Conquest: the Bayeux Tapestryas monastic mealtime reading.” Historical Research. 2025. https://academic.oup.com/histres/advance-article/doi/10.1093/hisres/htaf029/8377922 Puiu, Tibi. “Pristine 2,300-year-old Scythian woman’s boot found in frozen Altai mountains.” ZME Science. Dec. 29, 2021. https://www.zmescience.com/science/scythian-boots-0532/ Razzall, Katie. “Bayeux Tapestry to return to UK on loan after 900 years.” BBC. July 8, 2025. https://www.bbc.com/news/articles/c14ev1z6d5go Royal School of Needlework. https://royal-needlework.org.uk/ Salmony, Alfred. “The Archaeological Background of textile Production in Soviet Russia Territory.” The Bulletin of the Needle and Bobbin Club. Volume 26. No. 2. 1942. https://www2.cs.arizona.edu/patterns/weaving/periodicals/nb_42_2.pdf “Sampler.” Victoria & Albert Museum. https://collections.vam.ac.uk/item/O46183/sampler-jane-bostocke/ Schӧnsperger, Johann. “Ein ney Furmbüchlein. 1525-1528. Met Museum Collection. https://www.metmuseum.org/art/collection/search/354716 Schӧnsperger, Johann. “Ein new Modelbuch … “ 1524. https://www.metmuseum.org/art/collection/search/354660 Shrader, Dustin. “Embroidery Through the Ages.” Impressions. July 28, 2023. https://impressionsmagazine.com/process-technique/embroidery-through-the-ages/39234/#:~:text=The%20Age%2DOld%20Beginning&text=We%20tend%20to%20typically%20think,to%20generation%20across%20the%20millennia. “Silk Roads Programme.” UNESCO. https://en.unesco.org/silkroad/silkroad-interactive-map Sons of Norway's Cultural Skills Program. “Unit 8: Hardanger Embroidery.” 2018. https://www.sofn.com/wp-content/uploads/2018/11/unit8hardanger_rev8.11.pdf “Suzhou Embroidery.” Smithsonian National Museum of Asian Art.” https://asia-archive.si.edu/learn/for-educators/teaching-china-with-the-smithsonian/videos/suzhou-embroidery/ Teall, John L., Nicol, Donald MacGillivray. "Byzantine Empire". Encyclopedia Britannica, 5 Dec. 2025, https://www.britannica.com/place/Byzantine-Empire Warner, Pamela. “Embroidery: A History.” B.T. Bedford, Ltd. 1991. Watt, James C. Y., and Anne E. Wardwell. “When Silk Was Gold: Central Asian and Chinese Textiles.” Metropolitan Museum of Art. Harry N. Abrams. New York. 1997. https://cdn.sanity.io/files/cctd4ker/production/d781d44d3048d49257072d610034400182246d3e.pdf Watt, Melinda. “Textile Production in Europe: Embroidery, 1600–1800.” The Met. Oct. 1, 2003. https://www.metmuseum.org/essays/textile-production-in-europe-embroidery-1600-1800 See omnystudio.com/listener for privacy information.

Guy Oliver is an interior designer and managing director of Oliver Laws, a design practice specialising in historic or listed buildings and interiors.  Guy began his career after leaving the Navy working with Colefax and Fowler and alongside Micheal Inchbald.  Guy joined David Laws as Co-Director of his firm and ultimately assumed ownership of the company in 2012 when the name changed to Oliver Laws Ltd. Guy has gained a reputation for a unique creative style backed by a solid understanding of architectural history and artisanal techniques. He was principal designer on the £70m restoration and refurbishment of The Connaught Hotel Passionate about the education and training of artisans, Guy was a volunteer Creative Director of The Turquoise Mountain Foundation, which works in post conflict and post-disaster areas. Guy and his team have raised funds for the following organisations: SAVE Britain's Heritage, the Sir John Soane's Museum, The Aid to Zimbabwe Trust, The Victoria and Albert Museum, Kew Palace, and a number of The Prince of Wales's, now the King's Charities I spoke to Guy via Zoom in October 2025. In this episode, we discover the challenges and rewards of collaborating with artisans.  How skills from the Navy transfer to business.  The complexities of managing diverse teams to create cohesive and harmonious spaces.  Manifestation and the importance of focussing on what you love And why, when you are trying to make things happen, don't grab it!, you need to want it, Links Guy Oliver on LinkedIn Oliver Laws https://www.oliverlaws.com/ Turquoise Mountain Foundation https://www.turquoisemountain.org/ Thanks to Ruth Cairns for helping to set up the interview. Dave Clarke from @iamthehow (http://www.iamthehow.com) for production support and invaluable advice in the setting up of this Podcast. Kay Hanson (https://www.instagram.com/kay_v_hanson/) for her planning support and co-hosting for these and our educational podcasts for the University of Plymouth Mark Frith (https://www.markfrith.uk/) for composing the music and all your support and advice along the way. I'd love like to hear feedback on the podcast.  Leave a comment or get in touch via the website or Instagram. Websitehttp://www.multistorythinking.com/contact Instagramhttps://www.instagram.com/forster_jonathan/ Thanks for listening.  Bye for now.

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

Transcript of the interview Minna Salami is a writer, social critic, and thought leader on feminism, knowledge production, and the aesthetics and structures of power. She formerly served as Programme Chair and Senior Fellow at THE NEW INSTITUTE, where she led the Black Feminism and the Polycrisis programme. Her work sits at the intersection of ideas, culture, and systems thinking, with a commitment to making complex theories accessible through books, essays, public speaking, and creative projects. She is the author of Can Feminism Be African? (Harper Collins, 2025) and Sensuous Knowledge: A Black Feminist Approach for Everyone (Bloomsbury, 2020), which has been translated into multiple languages. Her writing also appears in numerous anthologies and educational publications exploring feminism, African philosophy, media, and cultural criticism. Her work has featured in The Guardian, The Financial Times, The Ideas Letter, Project Syndicate, and The Philosopher, and she has delivered talks at global institutions including TEDx, the Institute of Arts and Ideas, the European Commission, the Oxford and Cambridge Unions, Yale, and Singularity University at NASA. Salami was the creative director of the short film Black Feminism and the Polycrisis, which won the Silver Award for Public Service and Activism at the 2024 Lovie Awards. From 2019 to 2022, she co-directed Activate, an intersectional feminist movement that supported minoritised women in politics and community organising through visibility campaigns, mentoring, and fundraising. The initiative played a key role in shifting narratives and resources toward a more inclusive political landscape in the UK. She has also worked as a Research Associate and Editor at Perspectiva, advised governments on gender equality, developed national school curricula, and curated cultural events at institutions such as the Victoria & Albert Museum in London. Her blog, MsAfropolitan, launched in 2010, has reached over a million readers and remains a platform for exploring feminist and African-centred approaches to contemporary life. Salami is a Full Member of the Club of Rome, a BMW Foundation Responsible Leader, and serves on the advisory boards of the African Feminist Initiative at Penn State University and Public Humanities at Cambridge University Press, as well as the council of the British Royal Institute of Philosophy. Links to References:Apart Together – essay on Leopold Senghor and Aimé Césaire's radical vision for the world Africa's Populist Trap for The Ideas Letter The Niger River and the Dearth of History: Deconstructing the Myths of Mungo Park by Ezenwa E. Olumba Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Mentre a Londra il Victoria and Albert Museum ha deciso di aprire al pubblico il suo stesso magazzino, che è così diventato una sorta di museo nel museo, a Parigi il Centre Pompidou rimarrà chiuso per cinque anni per restauri, pur cercando di far vivere la sua collezione fuori dalle sue storiche mura. Due opposte storie che portano alla ribalta il futuro degli spazi museali. Non è solo una questione di luoghi però: in questi anni spesso i musei hanno raccontato con nuovi sguardi il nostro passato artistico, storico e culturale, ma oggi c'è chi li accusa di essere troppo politicizzati.Ma qual è allora il ruolo dei musei? Ne parlano Alessandra Quarto, direttrice del Museo Poldi Pezzoli di Milano, Simone Verde, storico dell'arte e direttore degli Uffizi di Firenze, e Chus Martinez, direttrice dell' Institute Art Gender Nature di Basilea nonché membro del CIMAM, network globale di esperti di arte moderna e contemporanea. 

The British designer Jay Osgerby believes in designing rigorously simple objects that are deeply felt and, hopefully, appreciated for generations to come. As the co-founder of the London-based industrial studio Barber Osgerby, Jay and his partner in the firm, Edward Barber, emphasize experimentation, innovation, and a material- and craft-forward design approach to their products, furniture, architecture, and interiors. Across their nearly 30-year history as a studio, Barber Osgerby has taken a “fewer, better things” approach and along the way built a rich and varied body of work that includes the 2012 London Olympics torch, a commemorative £2 coin (2012), a Victoria and Albert Museum installation with BMW (2014), Vitra's Tip Ton chair (2011), and paper lanterns crafted by Ozeki & Co. in Gifu, Japan. Each project exudes clarity, calm, and consideration—and always a sense of character. On this episode of Time Sensitive, Osgerby shares his optimistic views on A.I. as a means toward more people engaging in craft and handwork; considers what his years inside factories and surrounded by craftspeople have taught him about human ingenuity; and reflects on objects as vessels for memory, history, and soul.Special thanks to our Season 12 presenting sponsor, Van Cleef & Arpels.Show notes: Jay Osgerby[05:08] Flos[8:37] 2012 London Olympics torch[8:37] £2 coin (2012)[8:37] Victoria and Albert Museum[8:37] London Design Biennale[14:18] Design Museum in Tallinn, Estonia[14:18] Isokon[15:58] Dieter Rams[15:58] Ettore Sottsass[15:58] Memphis Group[15:58] Rationalism[20:25] Pitt Rivers Museum[24:56] Vitra[28:49] Arts and Crafts Movement[29:09] Glenn Adamson[31:01] Bill McKibben[36:38] Blueprint[36:38] Paul Smith[38:01] Galerie Kreo[39:00] Tyler Brûlé[41:36] Venini[51:34] Vico Magistretti[51:34] Achille Castiglione[53:07] Ozeki & Co.

This week we cinch our corsets and plump our panniers with an inside look into the Victoria & Albert Museum's exhibition Marie Antoinette Style. Curator Dr. Sarah Grant joins us to speak about her exhibition examines The Queen of Fashion's enduring influence on fashion then and now. Rare examples of Marie Antoinette's personal belongings are featured alongside supreme examples of 18th century fashion, accessories and the decorative arts, while more contemporary pieces evidence designer's centuries long obsession with the former French queen. Recommended reading: Grant, Sarah, ed. Marie Antoinette Style. London: V&A Publishing, 2025. Want more Dressed: The History of Fashion?  Our ⁠⁠⁠⁠website⁠⁠⁠⁠ and ⁠⁠⁠⁠classes⁠⁠⁠⁠ Our ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ Our ⁠⁠⁠⁠bookshelf⁠⁠⁠⁠ with over 150 of our favorite fashion history titles Dressed is a part of the ⁠⁠⁠⁠AirWave Media⁠⁠⁠⁠ network Learn more about your ad choices. Visit megaphone.fm/adchoices

Intresset för mode bidrog till hennes död, men det är också mode som fått hennes namn att leva vidare. Lyssna på alla avsnitt i Sveriges Radio Play. Vi talar förstås om den franska drottningen Marie Antoinette. Denna kvinna som 1793 blev giljotinerad vid 37 års ålder. Idag ska vi glänta på dörren till Marie Antoinettes enorma garderob.Hon lät inte bara beställa 300 nya klänningar om året, hon bar aldrig samma outfit två gånger. Hennes klädbudget låg på drygt tio miljoner kronor per år, i dagens penningvärde.På Victoria and Albert Museum i London pågår just nu – och fram till i vår – utställningen “Marie-Antoinette's Style”. Där berättar kläder, porslin, skulpturer, smycken och bilder från över 250 år historien om en av världens mest mytomspunna personer, vi hör curatorn Sarah Grant berätta om utställningen.Till sin hjälp för att bli en sorts 1700-talets ”influencer” av rang hade Marie Antoinette ett par skickliga kvinnor. En av dem var Rose Bertin som stod bakom idéerna till hennes klänningar, och accessoarer. Den andra kvinnan som bidrog till att Marie Antoinette, och hennes stil, synliggjordes var konstnären Elisabeth Vigée Le Brun. Vi ringer upp Cécile Berly, fransk historiker specialiserad på 1700-talet för att höra mer om kvinnorna bakom Marie Antoinettes stil.Nyligen lät Netflix meddela att de är i full fart med att producera en långfilm om Axel von Fersen, och hans syster Sophie, som under sin tid var kända som ett av Europas hetaste ”it-syskon” par. Rollen som Axel von Fersen kneps av skådespelaren Christian Fandango, som förutom mask och kostym, även hade andra knep för att komma in i rollen som Marie Antoinettes älskare.

Lady Charlotte Schreiber, Extraordinary Art Collector (Lund Humphries, 2025) emphasises Lady Charlotte Schreiber (1812-1895) — also known as Lady Charlotte Guest, née Bertie — as one of the most significant women in the history of collecting. An extraordinary collector, historian and philanthropist, Charlotte subverted gendered norms and challenged Victorian conventions. This new study establishes Charlotte's contribution to ceramic history and cultural education, and demonstrates her influential role in transnational artistic networks. Charting Charlotte's eventful life, Dr. Caroline McCaffrey-Howarth focuses on her identity as a renowned connoisseur, whose donation of thousands of objects to the Victoria & Albert Museum and the British Museum marked a pioneering move for a female benefactor. Lady Charlotte Schreiber, Extraordinary Art Collector presents unique insight into the social and cultural world of Victorian England and the role of women within this. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Lady Charlotte Schreiber, Extraordinary Art Collector (Lund Humphries, 2025) emphasises Lady Charlotte Schreiber (1812-1895) — also known as Lady Charlotte Guest, née Bertie — as one of the most significant women in the history of collecting. An extraordinary collector, historian and philanthropist, Charlotte subverted gendered norms and challenged Victorian conventions. This new study establishes Charlotte's contribution to ceramic history and cultural education, and demonstrates her influential role in transnational artistic networks. Charting Charlotte's eventful life, Dr. Caroline McCaffrey-Howarth focuses on her identity as a renowned connoisseur, whose donation of thousands of objects to the Victoria & Albert Museum and the British Museum marked a pioneering move for a female benefactor. Lady Charlotte Schreiber, Extraordinary Art Collector presents unique insight into the social and cultural world of Victorian England and the role of women within this. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Lady Charlotte Schreiber, Extraordinary Art Collector (Lund Humphries, 2025) emphasises Lady Charlotte Schreiber (1812-1895) — also known as Lady Charlotte Guest, née Bertie — as one of the most significant women in the history of collecting. An extraordinary collector, historian and philanthropist, Charlotte subverted gendered norms and challenged Victorian conventions. This new study establishes Charlotte's contribution to ceramic history and cultural education, and demonstrates her influential role in transnational artistic networks. Charting Charlotte's eventful life, Dr. Caroline McCaffrey-Howarth focuses on her identity as a renowned connoisseur, whose donation of thousands of objects to the Victoria & Albert Museum and the British Museum marked a pioneering move for a female benefactor. Lady Charlotte Schreiber, Extraordinary Art Collector presents unique insight into the social and cultural world of Victorian England and the role of women within this. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Lady Charlotte Schreiber, Extraordinary Art Collector (Lund Humphries, 2025) emphasises Lady Charlotte Schreiber (1812-1895) — also known as Lady Charlotte Guest, née Bertie — as one of the most significant women in the history of collecting. An extraordinary collector, historian and philanthropist, Charlotte subverted gendered norms and challenged Victorian conventions. This new study establishes Charlotte's contribution to ceramic history and cultural education, and demonstrates her influential role in transnational artistic networks. Charting Charlotte's eventful life, Dr. Caroline McCaffrey-Howarth focuses on her identity as a renowned connoisseur, whose donation of thousands of objects to the Victoria & Albert Museum and the British Museum marked a pioneering move for a female benefactor. Lady Charlotte Schreiber, Extraordinary Art Collector presents unique insight into the social and cultural world of Victorian England and the role of women within this. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lady Charlotte Schreiber, Extraordinary Art Collector (Lund Humphries, 2025) emphasises Lady Charlotte Schreiber (1812-1895) — also known as Lady Charlotte Guest, née Bertie — as one of the most significant women in the history of collecting. An extraordinary collector, historian and philanthropist, Charlotte subverted gendered norms and challenged Victorian conventions. This new study establishes Charlotte's contribution to ceramic history and cultural education, and demonstrates her influential role in transnational artistic networks. Charting Charlotte's eventful life, Dr. Caroline McCaffrey-Howarth focuses on her identity as a renowned connoisseur, whose donation of thousands of objects to the Victoria & Albert Museum and the British Museum marked a pioneering move for a female benefactor. Lady Charlotte Schreiber, Extraordinary Art Collector presents unique insight into the social and cultural world of Victorian England and the role of women within this. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Journalist Mary McCarthy has been avoiding motorways for years, even planning her life around how to dodge them. She tells Kylie Pentelow how she discovered it's a far more common problem than you might think, especially among women in mid-life.England are through to the Rugby World Cup final. They face Canada next Saturday but who will we see lift the trophy? Former player Kat Merchant gives her view.Who is Erika Kirk? Kylie speaks to Anne McElvoy, executive editor at Politico and host of the Sam and Anne political podcast, about the wife of Charlie Kirk, American activist and influencer, who was shot dead on 10 September. Pulitzer Prize-winning playwright Suzan-Lori Parks discusses her new adaptation of The Harder They Come, based on the classic 1972 film whose legendary soundtrack brought reggae to the world. She joins Kylie to explain her process for adapting classic stories and how she rewrote the rules for language and structure in theatre.The UK's first ever exhibition dedicated to the life of the French Queen Marie Antoinette has just opened at the Victoria and Albert Museum in London. Marie Antoinette Style explores the lasting influence of the fashionable icon, showcasing more than 250 objects, some of which have never been seen outside of Versailles. So, who was this ill-fated queen and how does her style still resonate with us today?

Episode 491 / Peter FunchBorn 1974 in Denmark Peter Funch currently lives and works in Paris, France. He lived in New York for 13 years as a photographer. Funch graduated as a Photojournalist from the Danish School of Journalism in 1999 and combines the social commentary with a cinematic style. His still and motion work often combines storytelling with a perceptive social commentary in a cinematic visual language. He is working internationally with exhibitions, books, editorial and advertising clients alike, combining his technical perfection with a touch of his Nordic calmness and dry humour. Worked with international clients like IKEA, Sony, HSBC, Whitney museum. He has published seven monographs, where Babel Tales and 42nd and Vanderbilt, picturing routines and rituals in the public sphere in New York City. Recent exhibitions include Tomorrow and Tomorrow and Tomorrow, DAC, Cph, DK (2025), The Imperfect Atlas, Fotografisk Center, Cph (2024), DK, 42nd And Vanderbilt, Vevey, Swiss (2020),  A History of Photography: Daguerreotype to Digital, Victoria & Albert Museum, London, United Kingdom (2018), In 2018, Funch received The Art, Design and Architecture Award of the Year, Dir. Einar Hansen and wife Vera Hansen Foundation for 42nd and Vanderbilt. 

Earlier this year, we took a tour of the V&A East Storehouse, the Victoria and Albert Museum's vast new complex in East London. This week, it opens the David Bowie Centre, a dedicated space to the music icon. It is the permanent repository of thousands of items from Bowie's archive, which are on display and also available for personal study. Ben Luke explores the displays at the centre with the curator, Madeleine Haddon. Last week, a new biennial opened in Bukhara in Uzbekistan, part of a major cultural shift in the country. The Art Newspaper's art market editor, Kabir Jhala went to Bukhara for the opening event and delivers his verdict, and we also hear from its curator, Diana Campbell. And this episode's Work of the Week is a pair of paintings: Untitled (2025), a new piece by Hurvin Anderson, and West Indies (2014) by Kara Walker. They are part of an exhibition at Michael Werner Gallery in London, curated by the critic and writer Hilton Als, which explores the Dominican-born writer Jean Rhys. We went to the gallery to talk to Als about these two remarkable paintings and his fascination with Jean Rhys's life and work.David Bowie Centre, V&A East Storehouse, from 13 September.The Bukhara Biennial continues until 20 November.Postures: Jean Rhys in the Modern World, curated by Hilton Als, Michael Werner, London, 12 September-22 November.Student subscription offer: stay connected to the art world from your first lecture to your final dissertation with a three-year student subscription to The Art Newspaper for just £99/$112/€105. Gift, quarterly and annual subscriptions are also available.https://www.theartnewspaper.com/subscriptions-student?offer=4c1120ea-bc15-4cb3-97bc-178560692a9c Hosted on Acast. See acast.com/privacy for more information.

This week episode is a special Book Club episode digging into the brand new book The Costumes of Hollywood with co-authors Coleen Scott & Larry McQueen! We cover Larry's extensive collection, the creation of the book, the importance of preserving Hollywood history and maintaing the legacy of Costume Designers and their teams, advice for Costume Designers on archiving their own pieces and so much more!    The Costumes of Hollywood details the design, creation, and influence of over 100 ensembles from some of the most iconic designers, films, and roles in Hollywood history, spanning the 1920s through the early 21st century. All costumes featured are from The Collection of Motion Picture Costume Design, one of the world's largest private collections, curated over thirty-five years by leading Hollywood costume historian and archivist, Larry McQueen.   The book presents full costumes on display in addition to close-ups, and rarely seen interior details of some garments. Iconic costumes, including many with Academy Award nominations, from Some Like It Hot, Hello Dolly, Cabaret, Rear Window, Ben Hur, Mildred Pierce, Angel, Masters of the Universe, The Piano, The Hunger Games, and so many others are featured. This book gives the audience a rare and heretofore unpublished insight into what collecting, restoring, and reproducing entails, and highlights differences between private collecting and museum-backed collections. The Costumes of Hollywood details the significance of the designer, costume, and wearer via thorough research, interviews, and Larry McQueen's behind-the-scenes knowledge of collecting and working as an archivist in Hollywood.   Within the entertainment field, this book will be of interest to professional costume designers and technicians in film, theatre, and performance, as well as students of film production, history, and costume design and construction. The Costumes of Hollywood will also enrich and entertain anyone with an interest in costume design in film and collecting.   — If you want to support me and this podcast, please subscribe to the Patreon - we have tiers starting at just $3 and you will get access to extended cuts of every episode with more even more stories.  --- The Costumes of Hollywood: Highlights from The Collection of Motion Picture Costume Design Written by Coleen Scott & Larry McQueen --- Larry McQueen is a leading Hollywood costume historian and archivist. He has held the position of consultant for Camden House Auctioneers, Inc. in Los Angeles; Christie's East, New York: Christie's London; Butterfield and Butterfield Los Angeles/ San Francisco; Entertainment Rarities; and Julien Entertainment.   As consultant, he has been responsible for the authentication of film costumes and the estimation of their value. From 1999-2012, Mr. McQueen worked as an archivist with MGM/ UA in creating and maintaining a prop and costume collection of MGM films. In addition, his collection has worked with private estates and costume houses such as Lucille Ball, Jane Withers, Edith Head, Wayne Finkleman, Julie Newmar, Debbie Reynolds, Western Costume Company, Eastern Costume Company, CRC, American Costume Co., and others in researching items and their valuation. Mr. McQueen's private collection of film costumes is one the finest, and consists of over 600 costumes worn in films and television from 1920 to present. Portions of his collection have been exhibited in museums across the globe including the Metropolitan Museum of Art in New York, The Fashion Foundation in Tokyo, and The Victoria and Albert Museum in London. Website: www.filmcostumecollection.com.   Coleen Scott is a costume designer and historian with an MFA in Costume Design from Boston University, where she received the Kahn award upon graduation. She has worked for over 25 years in theater, opera, film, and television. She has worked with Academy Award-winning costume designer Ann Roth as well as designers Stephanie Maslansky and Tina Nigro. She frequently works with her creative partner and photographer, Ben Trivett, doing styling, set decoration, and photo tech for celebrity and editorial portrait photography.   Coleen taught Costume Production and Makeup for Stage and Studio at Saint Ann's School in Brooklyn, NY for thirteen years. Her book The Costumes of Burlesque was published by Routledge in 2019. She is a proud member of lATSE, USA 829, USITT, and is Chair of The Costume Society of America's Western Region. Coleen is tenured faculty in the Theatre Arts and Fashion Department at Santa Rosa Junior College in California heading the Costume Design, Technology and Makeup programs. Website: www.coleenscottdesign.com.     CoH Links: Book Link @ Routledge Website: The Collection of Motion Picture Costume Design Podcast (Apple Podcasts): The Costumes of Hollywood Podcast Podcast (Spotify): The Costumes of Hollywood Podcast Instagram: @CostumesofHollywood --- TFACD Links: Patreon: Tales From A Costume Designer Instagram: @talesfromacostumedesigner Twitter: @talesfromaCD TikTok: @talesfromaCD --- Whitney Anne Adams Links: Website: whitneyadams.com IMDb: Whitney Anne Adams Instagram: @WAACostumeDesign Twitter: @WhitneyAAdams TikTok: @waacostumedesign --- Union Links: Costume Designers Guild IG: @cdglocal892 United Scenic Artists Local 829 IG: @unitedscenicartists IATSE IG: @iatse ---

Beatrice Kenner’s inventions were focused largely on making life easier and less annoying for herself and the people around her, including period products. Mildred Smith’s invention was about family, and it grew from her disability after she developed multiple sclerosis. Research: “Deaths.” Evening Star. 11/27/1956. https://www.newspapers.com/image/869672410/ “Mildred E. Smith.” Obituary. Washington Post. 8/19/1993. https://www.washingtonpost.com/archive/local/1993/08/19/n-hugh-mcdiarmid-dies-at-86/beab0fdf-9aec-4ac1-bd0a-cfcef223f1fa/ Byram, W.F. and R.P. Phronebarger. “Current Supply System for Electric Railways.” U.S. Patent 1,134,871. 4/6/1915. Coren, Ashleigh, et al. “The Many Inventions of Beatrice Kenner.” Side Door. Smithsonian Institution. 4/6/2022. https://www.si.edu/sidedoor/many-inventions-beatrice-kenner Davidson, S.N. “Pants Presser.” U.S. Patent 1,088,329. Hambrick, Arlene. “Biographies of Black Female Scientists and Inventors: An Interdisciplinary Middle School Curriculum Guide. ‘What Shall I Tell My Children Who Are Black?’” Graduate School of the University of Massachusetts. Doctor of Education Dissertation. 1993. DOI: 10.7275/14756666 Hodal, Kate. “Cloth, cow dung, cups: how the world's women manage their periods.” The Guardian. 3/14/2019. https://www.theguardian.com/global-development/2019/apr/13/cloth-cow-dung-cups-how-the-worlds-women-manage-their-periods Jeffrey, Laura S. “Amazing American Inventors of the 20th Century.” Enslow Publishers, Inc.. 1996, 2013. Kenner, Mary Beatrice. “Busch Traffic.” Daily Press. 11/12/1984. https://www.newspapers.com/image/234268212/ Kijowska, Wiktoria. “Sanitary suspenders to Mooncups: a brief history of menstrual products.” Victoria and Albert Museum. https://www.vam.ac.uk/articles/a-brief-history-of-menstrual-products King, Helen. “From rags and pads to the sanitary apron: a brief history of period products.” The Conversation. 4/25/2023. https://theconversation.com/from-rags-and-pads-to-the-sanitary-apron-a-brief-history-of-period-products-203451 O’Sullivan, Joan. “Disease Victim Creates Game.” The Orange Leader. 10/8/1982. https://www.newspapers.com/image/1008083420/ Ravey, Julia and Dr. Ella Hubber. “Unstoppable: Mary Beatrice Davidson Kenner.” Unstoppable. BBC. 6/17/2024. https://www.bbc.co.uk/sounds/play/w3ct5rmq Sluby, Patricia Carter. “African American Brilliance.” Tar heel junior historian [2006 : fall, v.46 : no.1]. https://digital.ncdcr.gov/Documents/Detail/tar-heel-junior-historian-2006-fall-v.46-no.1/3700440?item=5369779 Smith, Mildred E. “Family Relationships Card Game.” U.S. Patent 4,230,321. 10/28/1980. https://ppubs.uspto.gov/api/pdf/downloadPdf/4230321 Tsjeng, Zing. “Forgotten Women: The Scientists.” Cassell Illustrated. 2018. Tsjeng, Zing. “The Forgotten Black Woman Inventor Who Revolutionized Menstrual Pads.” Vice. 3/8/2018. https://www.vice.com/en/article/mary-beatrice-davidson-kenner-sanitary-belt/ Washington Afro American. “Jabbo Kenner Leads Boys to Clean Life.” 11/15/1947. https://www.newspapers.com/image/1042304374/ Washington Daily News. “Mrs. Kenner Is In Clover.” 6/2/1958. https://www.newspapers.com/image/1042178951/ See omnystudio.com/listener for privacy information.

Historians have floated a half-dozen theories for why Viking Greenland settlements suddenly vanished in the 1300s and 1400s, after nearly 500 years of occupation. Was it climate change, the Black Death, even bad farming habits learned in Scandinavia?But what if…it all came down to walrus ivory? It turns out that walrus tusks during the Viking and Middle Ages fuelled a long-distance trade network that stretched from Inuit hunters far above the Arctic Circle to churches and royalty in cities as far flung as Novgorod, Kyiv and Cologne. Now, using ancient DNA and isotope analysis, archaeologists have shown that virtually all these tusks came from Greenland!And then suddenly, the market collapsed. What happened?Today's show looks at how everything from cutting edge technology to dogged footwork has allowed researchers to piece together the details of the global walrus trade a thousand years back in time. They're also using this window into the past to better understand walruses themselves, to make predictions about the future of walruses in a warming world.My guests on today's show are James Barrett, professor of medieval and environmental archaeology at the NTNU University Museum, and Katrien Dierickx and Erin Kunisch, postdocs with James and the 4-Oceans project.Here's a link to the NTNU University Museum's new exhibit on the walrus tusk trade, Sea Ivories. The exhibition includes the Wingfield-Digby Crozier, from the Victoria & Albert Museum, plus several Lewis Chessmen, from the British Museum.Here's a link to photos and a description of a Romanesque walrus ivory carving, the Cloisters Cross. Here's a link to a Gothic-style carving of elephant ivory.Here are some relevant academic articles:Barrett, James; Boessenkool, Sanne; Kneale, Catherine; O'Connell, Tamsin C; Star, Bastiaan. (2020) Ecological globalisation, serial depletion and the medieval trade of walrus rostra. Quaternary Science ReviewsBarrett, James; Khamaiko, Natalia; Ferrari, Giada; Cuevas, Angelica; Kneale, Catherine; Hufthammer, Anne Karin. (2022) Walruses on the Dnieper: new evidence for the intercontinental trade of Greenlandic ivory in the Middle Ages. Proceedings of the Royal Society of London. Biological SciencesKeighley, X et al.Disappearance of Icelandic Walruses Coincided with Norse Settlement, Molecular Biology and Evolution, 36:12, Dec.2019, p2656–2667, https://doi.org/10.1093/molbev/msz196Transcript Hosted on Acast. See acast.com/privacy for more information.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This week, Emily features an insightful interview with artist Ester Hernandez. Ester shares her journey from growing up in a farm town in the San Joaquin Valley to becoming a renowned printmaker. She discusses the impact of growing up in a culturally rich Mexican environment and her experiences at UC Berkeley, where she studied various art forms despite facing challenges as a woman of color. A central focus of the episode is Ester's famous piece, 'Sun Mad', which critiques the use of pesticides in farming and has been displayed in prestigious museums worldwide. She also reflects on her early love for drawing, the inspiration from friends Sandra Cisneros and Alice Walker, and her ongoing effort to document her family's history with cotton farming in a new book. About Artist Ester Hernandez:Ester Hernandez was born in California's San Joaquin Valley to a Mexican/Yaqui farm worker family. The UC Berkeley graduate is an internationally acclaimed San Francisco-based visual artist. She is best known for her depiction of Latina/Native women through her pastels, prints and installations. Her work reflects social, political, ecological and spiritual themes.Hernandez has had numerous national and international solo and group shows. Among others, her work is included in the permanent collections of the National Museum of American Art – Smithsonian; Library of Congress; MoMA, New York; Legion of Honor, San Francisco; National Museum of Mexican Art, Chicago; Museo Casa Estudio Diego Rivera y Frida Kahlo, Mexico City; Museum of Contemporary Native Art, Institute of American Indian Arts, Santa Fe, NM; Victoria and Albert Museum, London.  Her artistic and personal archives are housed at Stanford University.Visit Ester's Website:  EsterHernandez.comFollow Ester on Instagram: @EsterHernandezArt--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_PodcastA Better World: A Comic About Ester Hernandez--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this Episode, Emily chats with "The Button Man", Harlem artist Beau McCall, an artist renowned for his unique use of buttons in wearable and visual art. McCall's work is featured in prominent collections such as New York's Museum of Arts and Design and London's Victoria and Albert Museum. McCall recounts his upbringing in Philadelphia, his move to Harlem, and his early inspirations. He explains how his fascination with buttons began with his mother's collection and grew through various craft classes. McCall shares memories of his artistic evolution, his experiences with the Harlem community, and the personal significance of his work, including tributes to friends lost to AIDS. The episode concludes with McCall's advice to aspiring artists and a nod to his ongoing support from his mother.About Artist Beau McCall :Drawing inspiration from the vast button collection of his mother and family, Beau McCall creates wearable and visual art by applying clothing buttons onto mostly upcycled fabrics, materials, and objects. With deliberate focus the buttons are arranged to stimulate one's curiosity and imagination, while simultaneously drawing attention to the unique history of buttons. Thereby McCall's work generates a discussion surrounding many topics such as pop culture and social justice.McCall began his professional career in Harlem in the 1980s after arriving from his native, Philadelphia with nothing more than a few hundred dollars, a duffel bag, and buttons. Circa 1988 he made his critically acclaimed wearable art debut at The Harlem Institute of Fashion (HIF) show for HARLEM WEEK. McCall went on to become an established force within HIF's Black Fashion Museum collective presenting at their shows consecutively through circa 1995, as well being featured in their museum exhibitions and prestigious events. During this time, McCall's visually captivating work was featured in the fashion bible Women's Wear Daily, on the PBS version of George C. Wolfe's The Colored Museum (1991), and in the award-winning film Quartier Mozart (1992), directed by Jean-Pierre Bekolo. The film won prizes at film festivals in Cannes, Locarno, and Montreal and was nominated, in 1993, for a British Film Institute award.McCall eventually applied his mastery of the button to visual art. Since then, he's been proclaimed by American Craft magazine as “The Button Man.” His visual and wearable art has been included in exhibitions at The Museum at FIT, Nordstrom, the African American Museum in Philadelphia, Houston Museum of African American Culture, Charles H. Wright Museum of African American History, Stax Museum of American Soul Music, the Langston Hughes House in partnership with the inaugural Columbia University Wallach Art Gallery Uptown triennial and StoryCorps, and Rush Arts Gallery. McCall's work is held in the permanent collection of public institutions and by private individuals including the Museum of Arts and Design (New York), Philadelphia Museum of Art (Philadelphia), Victoria and Albert Museum (London), The Museum at FIT (New York), Schomburg Center for Research in Black Culture (New York), Amistad Research Center (New Orleans), The Museum of Modern Art Library (New York), Leslie-Lohman Museum of Art (New York), Stonewall National Museum & Archives (Fort Lauderdale), and The San Francisco Museum of Modern Art Library (San Francisco), Cyndi Lauper's True Colors Residence, Debbie Harry of Blondie, Jeffrey Gibson, and Cristina Grajales. McCall has also been commissioned by the Museum of Arts and Design, Columbia University, and the Schomburg Center for Research in Black Culture. And his wearable art can be found in gift shops including the Newark Museum of Art. McCall has been featured in the NY Times, Associated Press, NPR, L.A. Times, and more. In addition, he has served as a teaching artist at the Newark Museum of Art, the New York Public Library, and the Harlem Arts Alliance. McCall has also created a wearable art line called, Triple T-shirts. For these pieces, he upcycles three T-shirts by combining them into one flowing garment that can be worn in six different ways. Each style—from poncho to hoodie to shawl and beyond—brings dynamic versatility to traditional T-shirts. The shirts are curated to form a narrative about various socially-conscious and lighthearted themes.In 2021, McCall released his debut artists' book titled, REWIND: MEMORIES ON REPEAT, commissioned and published by SHINE Portrait Studio@ Express Newark, Rutgers University-Newark. The book honors the legacy of ten of McCall's deceased friends through collages composed of archival photos and images from his button artwork. The collages capture the late 1970s to the mid-1980s, from Philadelphia to New York, during the LGBTQ+ rights movement, the height of disco music and the AIDS crisis.In 2024, McCall debuted his first-ever retrospective and exhibition catalog titled, Beau McCall: Buttons On! at Fuller Craft Museum. The exhibition is currently on a nationwide tour.Through his work, McCall remains committed to channeling and contributing to the universal cultural legacy one button at a time.Visit Beau's Website:  BeauMcCall.ComFollow Beau on Instagram: @Beau_McCallFor more on Beau's exhibit "Buttons On!" CLICK HERE--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

We meet Alev Ebüzziya Siesbye (b. 1938, Istanbul, TR) is a ceramic artist known for her refined, monochrome stoneware bowls, which she has been producing for nearly sixty years. Working with the ancient coiling technique and a traditional wooden kick wheel, Ebüzziya Siesbye creates vessels that bear the intimate marks of her hand, balancing density and spaciousness, firmness and fragility. Fired at high temperatures, her bowls possess a stone-like solidity, while their sharp-edged lips and small, recessed bases lend them an impression of levitation. Though often unadorned, some pieces feature delicate horizontal lines along the rim to, as the artist describes, “prevent them from lifting off the ground.”Ebüzziya Siesbye studied sculpture at the Istanbul State Academy of Fine Arts before working at ceramic studios in Höhr-Grenzhausen, DE, and Istanbul. In 1963, she moved to Denmark to join the Royal Copenhagen Porcelain Manufactory, later founding her first independent studio in Copenhagen in 1969. She has lived and worked in Paris since 1987. She has been awarded many honors, including the 2022 Danmarks Nationalbank's Anniversary Foundation Honor Award and the Aydın Doğan Award, and her work has been the subject of retrospective exhibitions at the Museum of Turkish and Islamic Arts, Istanbul (TR), and the Museum of Decorative Arts, Copenhagen (DK).Ebüzziya Siesbye's ceramics are held in numerous museum collections, including the Cooper-Hewitt Museum, New-York (NY); the Victoria and Albert Museum, London (UK); the Los Angeles County Museum of Art (CA); Musée des Arts Décoratifs, Paris (FR); Museum Boijmans Van Beuningen, Rotterdam (NL); the Museum of Decorative Arts, Copenhagen (DK); the Nationalmuseum, Stockholm (SE); the Royal Scottish Museum, Edinburgh, (SCT); and the Museum of Fine Arts, Houston (TX), among others.Follow @Salon94 on Instagram.Alev's current solo show ‘Vibrations' which runs in New York at Salon 94 until 8th August 2025, address 3 East 89th Street: https://salon94.com/exhibitions/alev-ebuzziya-siesbye-vibrations Hosted on Acast. See acast.com/privacy for more information.

We visit major museum projects unveiled this week in London and New York: Ben Luke takes a tour of V&A East Storehouse in London's Queen Elizabeth Olympic Park, which offers unprecedented access to the Victoria and Albert Museum's collection. He meets the deputy director of the V&A, Tim Reeve, and speaks to key members of the team that are making this radical museological vision for London a reality: the museum's lead technician, Matt Clarke, its senior curator Georgia Haseldine, and Kate Parsons, the director of collections care and access. The Art Newspaper's editor-in-chief, Americas, Ben Sutton, visits the Metropolitan Museum of Art, which this week unveiled its revamped Michael C. Rockefeller Wing. The wing holds the Met's collections of work from Africa, the Ancient Americas, and Oceania. Ben talks to Alisa LaGamma, the curator of African art who is in charge of the Rockefeller Wing, and the Papua New Guinea-born, Brisbane-based artist Taloi Havini, one of a number of contemporary artists who created new works for the the project. And this episode's Work of the Week is Down and Up (2024-25) by Rachel Whiteread. It features in a new show of Whiteread's work, the first at the Goodwood Art Foundation, a not-for-profit contemporary art gallery and sculpture park in West Sussex, UK. Ben Luke talks to Rachel about the work.V&A East Storehouse, London, opens 31 May.The Michael C. Rockefeller Wing at the Metropolitan Museum of Modern Art New York, reopens 31 May.Rachel Whiteread, Goodwood Art Foundation, West Sussex, UK, 31 May-2 November.Summer subscription offer: get up to 50% off an annual print & digital subscription to The Art Newspaper. Link here: https://www.theartnewspaper.com/subscriptions-SUMMER25P&D?promocode=SUMMER25&utm_source=special+offer+banner&utm_campaign=SUMMER25 Hosted on Acast. See acast.com/privacy for more information.

Samira Ahmed and writers Dreda Mitchell and Mark Ravenhill review Imelda Staunton and her daughter, Bessie Carter, in Mrs Warren's Profession.They consider, too, theatre director Marianne Elliott's first foray into film, The Salt Path, based on a Raynor Winn's bestselling memoir of how she and her husband, after they have lost their house and farm and he has been diagnosed with a rare terminal disease, walk the 600 miles of the South West Coast Path. It features Gillian Anderson and Jason Isaacs - with and the land and seascape of the end of England in a starring role. The Victoria and Albert Museum has a collection of 4.5 million artefacts. Inevitably, many are stored away. But now the museum is inviting everyone backstage, to the V&A East Storehouse, where half a million objects are looked after. It is a wonderful gallimaufry, ancient ceramics next to plastic chairs from the sixties, a huge Picasso, a Frank Lloyd Wright office and a child's pedal car. Samira, Freda and Mark wander the gantries.Presenter: Samira Ahmed Producer: Julian May

Season 25 begins! We meet Juergen Teller, one of the world's most sought-after contemporary photographers, successfully straddling the interface of both art and commercial photography.We discuss childhood, touring with Nirvana, Agnès Varda, Tracey Emin, William Eggleston, Kate Moss, Pope Francis, Kristen McMenemy, Zoe Bedeaux, collaborating with @DovileDrizyte and breakthroughs with Marc Jacobs. Juergen Teller's new exhibition of his photographs taken at Auschwitz Birkenau is now open Kunsthaus Göttingen, Germany until 1 June 2025 @KunsthausGoettingen. An accompanying photobook is published by @SteidlVerlag. 7 ½, Teller's concurrent exhibition runs at Galleria Degli Antichi, Sabbioneta, Italy until 23 November 2025 @VisitSabbioneta.Teller (b.1964) grew up in Bubenreuth near Erlangen, Germany. Teller graduated in 1986 and moved to London, finding work in the music industry shooting record covers for musicians such as Simply Red, Sinéad O'Connor and Morrissey with the help of the photographer, Nick Knight. By the early 1990s, he was working for avant-garde fashion magazines such as i-D, The Face, Details and Arena. Teller has collaborated with many fashion designers over the years, including Helmut Lang, Marc Jacobs, Yves Saint Laurent, Vivienne Westwood, Celine and Louis Vuitton.Teller was the recipient of the Citibank Photography Prize in association with the Photographer's Gallery, London in 2003. In 2007, he represented the Ukraine as one of five artists in the 52nd Venice Biennale. Teller has exhibited internationally, including solo shows at the Photographer's Gallery, London (1998), Kunsthalle Wien, Vienna (2004), Foundation Cartier, Paris (2006), Kunsthalle Nürnberg, Germany (2009), Daelim Contemporary Art Museum, Seoul (2011), Dallas Contemporary, USA (2011), Institute of Contemporary Art, London (2013), Deste Foundation, Athens (2014), Contemporary Fine Arts, Berlin (2015) and Bundeskunstalle, Bonn (2016).Teller's work is featured in numerous collections around the world, including the Centre Pompidou, Paris; International Center for Photography, New York; Pinchuk Art Centre, Kiev; and the Victoria & Albert Museum, London. He has published forty-one artist books and exhibition catalogues since 1996. He currently holds a Professorship of Photography at the Akademie der Bildenden Künste Nürnberg, and lives and works in London. Follow @JuergenTellerStudio and https://www.juergenteller.co.uk/ Hosted on Acast. See acast.com/privacy for more information.

Last time we looked at the continuing disintegration of the British Empire. In this episode we look at two other key aspects of Macmillan's foreign policy, Britain's relations with the US and with potential European partners.Towards the US, what the experience confirmed is Britain's declining influence and its increasing dependence on, and even subordination to, American policies. Towards Europe, Britain became directly hostile towards the European Economic Community (EEC), trying to build a rival to it in the European Free Trade Area (EFTA). As it became increasingly clear that this was never going to really fly, and as the British economy weakened, Macmillan found himself having to swallow his pride, reverse his position and apply for membership of the EEC after all. To the government's shock, the perception of Britain as increasingly dominated by the United States led to the French president, Charles de Gaulle – never an Anglophile and now increasingly mistrustful – applying the French veto to British accession. To top all that, Macmillan's increasingly battered and unpopular government was further hit by a series of three scandals: John Vassal was found to be an Admiralty employee spying for the Soviet Union; Kim Philby who Macmillan had backed against suspicions that he was a Soviet spy confirmed that he actually was by defecting to Moscow; and the scandal around Christine Keeler and the Secretary of State for War, John Profumo, did even further damage to the government's credibility.By October, Macmillan could stand it no longer and, genuinely not well, he decided to resign as Prime Minister on health grounds.This episode runs a little longer than most, because it also mentions the new German translation of the podcast. It's available at:https://open.spotify.com/show/08M357CvtiWJsnEGyxitco?si=64613c2919df4a27Illustration: Christine Keeler 1963, photograph by Lewis Morley. Keeler claimed that she wasn't actually naked. © Victoria and Albert Museum, London/Lewis MorleyMusic: Bach Partita #2c by J Bu licensed under an Attribution-NonCommercial-No Derivatives (aka Music Sharing) 3.0 International License

This week on About Art, Heidi Zuckerman is joined by Madeleine Haddon, Curator for V&A East, part of the Victoria and Albert Museum's major new expansion project in East London. Together, they discuss V&A East's upcoming openings, including the phased development of a dynamic working museum store offering an innovative "order an object" service that reimagines public access to collections.The conversation explores the museum's deep commitment to accessibility, community engagement, and inclusivity - as well as its new commissions program, designed to foster meaningful dialogues between historic collections and contemporary artistic practice. Madeleine and Heidi reflect on the evolving role of museums in the twenty-first century, and how institutions like V&A East are reshaping the ways audiences encounter, experience, and connect with art and culture.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. This week, Emily features an interview with curator Ciara Ennis, director of the De Saisset Museum at Santa Clara University. Ciara discusses her evolution from painter to curator, her efforts to challenge traditional museum practices, and her initiatives aimed at fostering inclusivity and dialogue within the art community. Key programs highlighted include the Flat Files of Curiosity Initiative and the Project Room for South Bay artists. She shares insights into her curatorial philosophy, influenced by her studies and experiences, including her impactful first exhibition in London and admiration for artist Joseph Beuys. The episode underscores Ciara's commitment to making museums more accessible and dynamic spaces for diverse audiences.About Curator Ciara Ennis:As Director Professor of Practice in the Department of Art and Art History, Dr. Ennis is responsible for developing the vision, artistic direction, and strategic leadership for the museum including exhibitions, programming, permanent collection, academic integration, and public profile. Ennis oversees museum operations, staffing, finances, and fundraising, and serves as the primary liaison between the museum and Santa Clara University.Prior to directing the de Saisset Museum, Ennis served as Director and Curator of Pitzer College Art Galleries, transforming it into a significant center for contemporary art and discourse through intellectually provocative initiatives focused on diverse communities of artists exploring issues that define our times. A Museum Studies scholar, Ennis' research explores the appropriation of Wunderkammer strategies as a means for rethinking contemporary curatorial practice. Ennis has been a panelist and guest speaker for the College Arts Association, American Studies Association, the International Sculpture Conference, the Association of Academic Museums and Galleries, the California Community Foundation, the Rijksakademie Amsterdam, and the Victoria and Albert Museum. Ennis is a member of Prospect Art's Advisory Board and X-TRA Contemporary Art Quarterly's Advisory Council. She has an MA (RCA) in Contemporary Curatorial Practice from the Royal College of Art, and a PhD in Cultural Studies/Museum Studies from Claremont Graduate University.For more on the exhibit, Maya Gurantz: The Plague Archives CLICK HERE. Follow Ciara on Instagram:  @CiaraEnnis5--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

And (after an eternity)…we're back! Join us today as we take a closer look at the fascinating (and perhaps a bit messy) history of period garments. Not breeches and corsets à la Bridgerton period dress, but the development of things like menstrual belts, vaginal packs, early tampons, and the rise of reusable options like the mooncup and period pants/panties. We'll explore where these products came front, the cultural forces and taboos that shaped them, and how they've evolved in relation to changing societal attitudes toward menstruation. It's sure to be a bloody brilliant ride!If you have any requests, questions, or simply feel like saying hello (we're friendly and Mr. B, our Executive Paw-ducer, is a purr-fect angel), drop us a line at historyunhemmedpodcast@gmail.com.You can also find us on social media:Instagram: @history_unhemmedFacebook: https://m.facebook.com/people/History-Unhemmed/100084597553601/We are also on Patreon at: Patreon.com/historyunhemmedTHANK YOU!RESOURCES:Alliance for Period Supplies. "The History of Period Products." Last modified November 7, 2023. https://allianceforperiodsupplies.org/the-history-of-period-products/.History Colorado. “Period Piece: Menstruation's Hidden History.” August 16, 2024. https://www.historycolorado.org/story/2024/08/16/period-piece-menstruations-hidden-history.Horwitz, Rainey, "Menstrual Tampon". Embryo Project Encyclopedia ( 2020-05-25 ). ISSN: 1940-5030 https://hdl.handle.net/10776/13151Jaafar H, Ismail SY, Azzeri A. Period Poverty: A Neglected Public Health Issue. Korean J Fam Med. 2023 Jul;44(4):183-188. doi: 10.4082/kjfm.22.0206. Epub 2023 May 16. PMID: 37189262; PMCID: PMC10372806.Kijowska, Wiktoria. “Sanitary Suspenders to Mooncups: A Brief History of Menstrual Products.” Victoria and Albert Museum. Last modified August 16, 2024. https://www.vam.ac.uk/articles/a-brief-history-of-menstrual-products.King, Helen. Making History (blog), https://mistakinghistories.uk/.Stein, Elissa, and Susan Kim. Flow: The Cultural Story of Menstruation. 1st ed. New York: St. Martin's Griffin, 2009.Thomas C. T. Buckley, Alma Gottlieb. Blood Magic: The Anthropology of Menstruation. University of California Press, 1988

About Mia WeinerResponding to the historical textile, Mia Weiner creates intimate declarations that explore identity, gender, and the psychology of human relationships. She hand-weaves each tapestry in her Los Angeles studio.Mia received her MFA from the School of the Art Institute of Chicago (2020) and her BFA in Fiber from the Maryland Institute College of Art in 2013. She was awarded the V&A Parasol Prize by the Victoria & Albert Museum and Parasol Foundation in 2024. Her work has been exhibited internationally including in New York, London, Los Angeles, Miami, Chicago, and Rome. Weiner is a Yaddo Fellow and her work is in the permanent collection of the Kunstmuseum Den Haag, Netherlands.

A thousand facets sits with Giovanni Corvaja for the premiere of Season 3. We discuss about his love for gold, and how his research has made him one of the most important goldsmiths of our generation. About: Born in 1971 in Padua, Italy, Giovanni Corvaja began work as a metalsmithing at the age of 13 at Pietro Selvatico High School of Art in Padua under the tuition of Francesco Pavan and Paolo Maurizio. In 1988 was awarded the Diploma di Maestro d'Arte, and in 1990 – the Maturità d'Arte Applicata. In 1990, he joined the Royal College of Art in London to continue his studies in the field of art jewellery. After graduation from the Royal College with the Degree of Master of Arts in 1992, he returned to Padua where he pursued his artistic career in goldsmithing.[Career[edit] The Headpiece from The Golden Fleece Collection, exhibited in the 'What is Luxury' exhibition at the Victoria and Albert Museum, London. The Golden Handkerchief (hand-woven golden fabric) Giovanni Corvaja has been exhibiting his work internationally since 1989, and has presented his pieces in more than 150 solo and group exhibitions worldwide. Some of his annual exhibitions are in major art fairs such as The European Fine Art Fair, Pavilion of Art and Design, London Masterpiece, London and COLLECT since 2008. You can follow Giovanni Corvaja on Instagram @giovannicorvaja , visit his website https://giovannicorvaja.com/ Please visit @athousandfacets on Instagram to see some of the work discussed in this episode. Music by @chris_keys__ Learn more about your ad choices. Visit podcastchoices.com/adchoices