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S10 E1—When you walk into a room, what does that room tell you about who you are as a human being? What assumptions go into our restaurants and civic buildings and churches and homes and schools? What do they say about who we are and about how we relate to each other? Artist and design researcher Sara Hendren joins Amy Julia Becker to explore how modern spaces—from office buildings to nursing homes—shape what we believe about dignity, dependence, and belonging. Together they uncover how design can either diminish or restore our shared humanity, and why the good life depends on reimagining how we live together.00:00 Introduction to Design and Humanity05:24 Understanding the Machine Model and Anti-Human Design14:32 What Spaces Communicate About Being Human29:29 Design Choices and Human Dignity34:49 Innovations in Dementia Care Design37:26 Art and Dignity for Individuals with Disabilities41:32 The Metaphysics of Dignity and Human Connection51:07 Designing for the Good Life: Relationality and CommunityMENTIONED IN THIS EPISODE:What Can a Body Do? How We Meet the Built World by Sara HendrenPrevious podcast conversation: “S3 E15 | Who Belongs? Disability and the Built World with Sara Hendren”Comment Magazine essay by Sara Hendren: “Pattern Recognition: Design for humans in unexpected places.”Short film: Simple MachineBeing Mortal by Atul Gawande_WATCH this conversation on YouTube: Amy Julia Becker on YouTubeSUBSCRIBE to Amy Julia's Substack: amyjuliabecker.substack.comJOIN the conversation on Instagram: @amyjuliabeckerLISTEN to more episodes: amyjuliabecker.com/shows/_ABOUT OUR GUEST:Sara Hendren is an artist, design researcher, writer, and professor at Northeastern University. Her book What Can a Body Do? How We Meet the Built World explores the places where disability shows up in design at all scales: assistive technology, furniture, architecture, urban planning, and more. It was named one of the Best Books of 2020 by NPR and won the 2021 Science in Society Journalism book prize.Her art and design works have been exhibited on the White House lawn under the Obama presidency, at the Victoria & Albert Museum, the Seoul Museum of Art, the Vitra Museum, and many others, and her work is held in the permanent collections at MoMA and the Cooper Hewitt. She has been an NEH Public Scholar and a fellow at New America, and her commentary and criticism have been published in Harper's, Art in America, The New York Times, the Washington Post, and elsewhere.Website: sarahendren.com__We want to hear your thoughts. Send us a text!Connect with me:InstagramFacebookYouTubeWebsiteThanks for listening!
Photographer Jess T. Dugan and writer Charlotte Cotton join PhotoWork with Sasha Wolf to discuss their 2 volume book, Love Pictures, published by Radius Books. Developed through their friendship and an ongoing dialogue between Dugan and Cotton, Love Pictures explores key themes shaping Dugan's photographic practice, including gender and identity, family and politics, writing and language, the photobook as object, and the dynamics of exhibition spaces. These conversations expand outward to include voices from their broader creative communities, featuring contributors such as Dawoud Bey, Kelli Connell, and Dorothy Moss. In this episode, Jess, Charlotte, and Sasha discuss how this project evolved from an intimate exchange into a comprehensive survey of Dugan's work. Jess T. Dugan Charlotte Cotton Jess T. Dugan (b. 1986, they/them, lives in St. Louis) is an artist whose work explores identity and the complexities of the human condition. While their practice is centered around photography, it also includes writing, video, audio, drawing, and installation. Their work is regularly exhibited internationally and is in the permanent collections of over seventy museums. Charlotte Cotton (b. 1970, lives in London) is a curator and writer who explores photographic culture. She has held positions at the Victoria and Albert Museum, Photographers' Gallery, Los Angeles County Museum of Art, Katonah Museum of Art, International Center of Photography, and California Museum of Photography. Her book, The Photograph as Contemporary Art, has been published in fourteen languages and has been a key text in charting the rise of photography as an undisputed art form in this century.
Esta semana, Blanca Juana platica con Carla: Mujeres de grandes nombres son enaltecidas cuando visten sus creaciones y mujeres anónimas recuperan la dignidad de su trabajo y talento gracias a su gestión. Todos la conocemos como diseñadora, pero ella se vive más como una “agente cultural”, que ayuda a poner en el lugar que merecen a las artesanas mexicanas originarias.Se entiende el valor de las piezas que llevan su firma luego de escuchar las reflexiones que salen de su boca. Ella plasma respeto en el vestir y logra congruencia y belleza. Moda ética es el nombre de su juego. Es inquieta, independiente, curiosa nata, comprometida y trabajadora. Cuestionadora del estatus quo como su madre, apasionada de lo que es genuino. Cuando la convicción es sólida, es posible darse el lujo de resistir la tentación de escalar agresivamente y aún así ser relevante. Es más, justo por eso lo es. Y así es como hace negocio.ACERCA DE CARLA: Es historiadora del arte, es fundadora de Carla Fernández, la firma de moda y textil que lleva su nombre. Su trabajo en colaboración con artesanas y artesanos se ha expuesto de manera individual en sitios como el Victoria & Albert Museum en Londres, el Isabella Stewart Gardner en Boston, el Museo Jumex y el Centro Cultural España en CDMX, Heath Ceramics en San Francisco y el Fashion Institute of Technology en NY, entre otros. Es emprendedora Ashoka. Su proyecto de moda ética ha sido reconocido con el Design Visionary 2018, otorgado por Design Miami; el Prince Claus Award y el Fashion Entrepreneur of the Year por el Consejo Británico, entre otros. Acá su LinkedIn.
Après Londres, New York, Chicago, Melbourne et Montréal, l'exposition Africa Fashion vient d'ouvrir ses portes à Paris. Son inauguration au prestigieux Victoria and Albert Museum avait marqué les esprits car, pour la première fois, un grand musée ouvrait ses portes à la mode africaine, à son histoire, son savoir-faire et ses grands créateurs. À Paris, le musée du quai Branly est allé puiser dans ses riches collections pour offrir un parcours éblouissant de couleurs, de matière et de créativité. Hélène Joubert et Christine Barthe, commissaires de l'exposition « Africa Fashion », ainsi qu'Emmanuelle Courrèges, journaliste et autrice de Swinging Africa étaient les invitées de Nathalie Amar sur RFI. ► Chronique : le hit de la semaine Ali Bilali, de la rédaction kiswahili de RFI, nous parlera de son coup de cœur musical de la semaine : « Miss the water » signé Otile Brown. ► Playlist du jour – E. T. Mensah – Ghana Freedom. – Femi Kuti – Truth Don Die.
Après Londres, New York, Chicago, Melbourne et Montréal, l'exposition Africa Fashion vient d'ouvrir ses portes à Paris. Son inauguration au prestigieux Victoria and Albert Museum avait marqué les esprits car, pour la première fois, un grand musée ouvrait ses portes à la mode africaine, à son histoire, son savoir-faire et ses grands créateurs. À Paris, le musée du quai Branly est allé puiser dans ses riches collections pour offrir un parcours éblouissant de couleurs, de matière et de créativité. Hélène Joubert et Christine Barthe, commissaires de l'exposition « Africa Fashion », ainsi qu'Emmanuelle Courrèges, journaliste et autrice de Swinging Africa étaient les invitées de Nathalie Amar sur RFI. ► Chronique : le hit de la semaine Ali Bilali, de la rédaction kiswahili de RFI, nous parlera de son coup de cœur musical de la semaine : « Miss the water » signé Otile Brown. ► Playlist du jour – E. T. Mensah – Ghana Freedom. – Femi Kuti – Truth Don Die.
This month's podcast episode takes us through Uzbekistan along the route that The Barakat Trust took on our trip to the country in November 2025. We begin in Tashkent before moving to Samarkand and finishing in Bukhara, exploring a number of architectural sites, crafts and traditions along the way. In our discussion we ask how the richness of Uzbekistan's cultural heritage came to be considered on the periphery of the Persianate world.Our guest is Fuchsia Hart is The Sarikhani Curator for the Iranian Collection at the Victoria and Albert Museum in London. She has written for the publications like The Guardian and the Oxford Review of Books, and spoke or lectured at institutions like The Wallace Collection, SOAS, and the Royal Asiatic Society. In 2025, Fuchsia completed her DPhil in Asian and Middle Eastern Studies at the University of Oxford with a thesis exploring Fath ‘Ali Shah Qajar's patronage of the major shrines of Iran and Iraq.This episode is part of our series Peripheries which seeks to push our understanding of the cultural heritage of the Islamic world away from the traditional centres that we associate with it. With a fantastic range of guests we will examine places and topics often considered peripheral to the Islamic world and understand why they are in fact of central importance to the region's cultural heritage, from Armenia to England, from Ethiopia to West Africa.
“Africa fashion” au musée du quai Branly – Jacques Chirac, Parisdu 31 mars au 12 juillet 2026Entretien avec Christine Barthe, Responsable de l'unité patrimoniale des collections photographiques du musée du quai Branly – Jacques Chirac, Paris,et commissaire associée de l'exposition,par Anne-Frédérique Fer, à Paris, le 30 mars 2026, durée 11'09,© FranceFineArt.https://francefineart.com/2026/03/31/3705_africa-fashion_musee-du-quai-branly-jacques-chirac/Communiqué de presseCommissaire générale :Dr Christine Checinska, Conservatrice en chef des textiles et de la mode d'Afrique et de la diaspora africaine, Victoria and Albert Museum de LondresCommissaires associées :Hélène Joubert, Responsable de l'unité patrimoniale des collections Afrique du musée du quai Branly – Jacques Chirac, ParisChristine Barthe, Responsable de l'unité patrimoniale des collections photographiques du musée du quai Branly – Jacques Chirac, ParisAprès avoir conquis Londres, New York, Portland, Chicago, Melbourne et Montréal, l'exposition Africa Fashion, conçue par le Victoria and Albert Museum de Londres, arrive à Paris et propose un dialogue entre les plus grands créateurs de mode de la scène contemporaine africaine et les riches collections historiques du musée du quai Branly – Jacques Chirac.Le parcours de cette exposition célèbre l'essor fulgurant de la scène africaine de la mode, portée par une nouvelle génération de créateurs. Entre inspiration et innovation stylistique, leurs créations célèbrent une scène artistique dynamique aussi variée que le continent lui-même.Africa Fashion présente la mode africaine comme une forme d'art qui se définit elle-même et qui révèle la richesse et la diversité des histoires et des cultures africaines. Pour l'occasion, le musée met en lumière sa collection de textiles, accessoires et bijoux africains, ainsi qu'une sélection de photographies issues de ses archives et collectées auprès du public.Renaissance culturelleLes bouleversements politiques et sociaux qui accompagnent les mouvements d'indépendance en Afrique dès les années 1950 ont ouvert une longue période de créativité dans le domaine de la mode, de la musique et des arts visuels. Cette première section présente ainsi de nombreuses archives (affiches, publications, enregistrements, revues, photographies…) témoignant des changements radicaux intervenus au cours de ces années de libération, entre le milieu et la fin des années 1950 à 1994, coïncidant avec la fin de l'apartheid en Afrique du Sud.Regard politique et poétique sur le textileDans ce contexte de lutte et d'émancipation, la fabrication et le port de tissus africains traditionnels deviennent des actes politiques. Cette deuxième section met en lumière l'importance du textile dans de nombreux pays africains : des imprimés à la cire, des tissus commémoratifs, des àdìrẹ (tissus imprimés à la teinture indigo), des kenté (étoffes multicolores composées de bandes tissées en soie ou en coton) et des bògòlanfini (tissus bicolores teints à partir de terre et de matières végétales), autant de fragments d'une histoire textile plurielle, façonnée par de nombreuses techniques issues de l'ensemble du continent.Avant-gardeAu milieu du 20e siècle, la mode africaine connaît un tournant avec l'émergence de créateurs dont les marques se diffusent largement au niveau local, national et international. Le continent connaît alors un élan de créativité. Afin de témoigner de cette effervescence créative, cette troisième section propose de s'arrêter sur le parcours de cinq créateurs africains emblématiques du 20e siècle : Shade Thomas-Fahm (né en 1933), Chris Seydou (1949 – 1994), Kofi Ansah (1951-2014), Alphadi (né en 1957), Naïma Bennis (1940-2008) représentent la première génération de designers africains à attirer l'attention internationale.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
YouTube is so old its in the Victoria & Albert Museum, BOOB TUBE: Jason checked out "The Madison," a celebration of boredom from "CBS Sunday Morning," and a hot driving tip from StephanieSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
The Grand Palais in Paris this week unveiled an enormous exhibition focusing on the final 13 years of Henri Matisse's life and work, a project conceived by the Centre Pompidou. The show includes abundant examples of the celebrated gouache cut-outs, his works for the Chapel of the Rosary in Vence, and his final paintings, drawings, and illustrated books, among much else. Ben Luke interviews the exhibition's curator, the Centre Pompidou's Claudine Grammont, in Paris. The latest edition of Art Basel Hong Kong opened this week amid much uncertainty about the Hong Kong art world after a prolonged downturn in the Chinese economy. Yet, some commentators are suggesting that Hong Kong has turned a corner. The Art Newspaper's chief contributing editor, Gareth Harris, has been in Hong Kong this week and tells us what he discovered. And for this episode's Work of the Week, we focus on a related painting and dress. The painting is Salvador Dalí's Necrophiliac Spring (1936), which was owned by the fashion designer Elsa Schiaparelli; the dress is the Tears Dress with Veil, from Schiaparelli's Circus Collection of 1938, made with a fabric designed by Dalí. The painting and the garment are in Schiaparelli: Fashion Becomes Art at the Victoria and Albert Museum in London, which opens this weekend, and Ben talks to Rosalind McKeever, one of the three curators of the exhibition, about the pairing.Matisse 1941-1954, Grand Palais, Paris, until 26 July. You can read more on the show, and get the full details on a wealth of Matisse shows opening in various museums and galleries in 2026, on the website or app.Art Basel Hong Kong continues until Sunday, 29 March.Schiaparelli: Fashion Becomes Art, Victoria and Albert Museum, London, 28 March-8 November Hosted on Acast. See acast.com/privacy for more information.
Today marks a historic moment for the Church of England as Dame Sarah Mullally is installed as the first female Archbishop of Canterbury in the Church's 1,400‑year history. What unique skills and priorities will she bring to the role, and what challenges lie ahead for her as she takes on one of the most influential positions in the Anglican Church? Joining Kylie Pentelow to explore these questions are the Bishop of Gloucester, Rachel Treweek; the Reverend Martine Oborne, chair of WATCH Women and the Church; and Professor Andrew Atherstone, author of a new biography of the Archbishop.A campaign backed by charities, MPs and peers is urging for more checks on pornography websites to protect children and vulnerable people. It's looking to change the law to get websites to verify the age of people appearing in the content that's published, and to guarantee that their consent has been given. To discuss the proposals, Kylie is joined by Baroness Bertin, author of an independent review into the regulation of online pornography, and Naomi Miles, founder of the Centre to End All Sexual Exploitation charity.The revolutionary Italian designer Elsa Schiaparelli is being celebrated in a dazzling new exhibition at the Victoria and Albert Museum in London. Sonnet Stanfill, Senior Curator of Fashion at the V&A and curator of Schiaparelli: Fashion Becomes Art and fashion historian, Justine Picardie, author of Fashioning the Crown, discuss her life and work.What can Taylor Swift teach us about the economy? Associate Professor at the University of Kansas, Misty Heggeness, explains how her concept of Swiftynomics shines a light on the true value of women's work and influence.Presenter: Kylie Pentelow Producer: Emma Pearce
“Licornes !” au musée de Cluny, musée national du Moyen Âge, Parisdu 10 mars au 12 juillet 2026Entretien avec Béatrice de Chancel-Bardelot, conservatrice générale au musée de Cluny, et commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 9 mars 2026, durée 26'50,© FranceFineArt.https://francefineart.com/2026/03/12/3694_licornes_musee-de-cluny/Communiqué de presseCommissaires :Béatrice de Chancel-Bardelot, Conservatrice générale au musée de Cluny (Paris)Michael Philipp, Conservateur en chef au Museum Barberini (Potsdam, Allemagne)Vous pensez tout savoir sur la licorne ? Animal fantastique omniprésent dans la culture populaire, elle n'en reste pas moins pleine de mystères. Du 10 mars au 12 juillet 2026, le musée de Cluny décrypte toutes ses facettes avec l'exposition « Licornes ! ».Créature mythique, la licorne a longtemps été considérée comme réelle. Animal inaccessible, indomptable et extraordinaire, elle inspire les artistes depuis l'Antiquité. Marco Polo lui-même dit en avoir croisé une au cours de son voyage en Asie. Si l'époque moderne se résout à admettre son caractère légendaire, la licorne reste présente dans l'imaginaire des petits comme des grands et a laissé des traces profondes dans l'histoire de l'art.Pour les découvrir, le musée de Cluny, où sont conservées les célèbres tapisseries de la Dame à la licorne, constitue un écrin idéal. L'exposition, composée de 9 sections thématiques, revient sur les multiples aspects de la licorne à travers une sélection d'une centaine d'oeuvres.Créature universelle, on croise la licorne dans la vallée de l'Indus vers 2000 avant notre ère sur un sceau gravé ; en Chine au cours de la dynastie des Han (Qilin sculpté vers 206-220) ; ou sur un plat en faïence du XVIIe siècle provenant de Turquie (Plat avec licorne, cerf et lion). À la fin du XVe siècle, Bernhard von Breydenbach, chanoine de la cathédrale de Mayence, la décrit parmi les animaux exotiques qu'il a rencontrés lors d'un pèlerinage en Terre Sainte (Le saint voyage vers Jérusalem).La licorne peut être à la fois sauvage comme sur une couronne de Torah en argent de 1778, et guérisseuse, puisque sa corne est dotée de vertus purificatrices. Ainsi, le « Danny Jewel » conservé au Victoria and Albert Museum est réalisé vers 1550 pour contenir un fragment de corne de licorne – en réalité de la dent de narval – à mettre en contact avec ses aliments pour se prémunir de tout poison. Alors que la licorne est parfois agressive et inquiétante, comme sur un aquamanile conservé au musée de Cluny, elle peut également se faire tendre et amoureuse, comme sur une huile sur toile vénitienne de 1510 environ (Femme et licorne, conservée au Rijksmuseum).[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
Tomorrow is National Cereal Day. Today, we're spending some quality time with the boxes that house those breakfast staples… especially the ones decades ago that came with playable records. Plus: about half a millennium after Michelangelo was born (this day in 1475), the Victoria and Albert Museum in London announced that on a wax sculpture, they had found what appeared to be the artist's thumbprint. Cereal Box Records Sound Horrible. They Still Look Incredible. (New York Times)The Victoria and Albert Museum Says It Has Spotted Michelangelo's Thumbprint, Preserved in Wax, on One of His Sculptures (Artnet)For less than the cost of a box of cereal, you can back our show on Patreon each month
Over 35 years, Tobias Frere-Jones has established himself as one of the world's leading typeface designers, creating some of the most widely used typefaces, including Interstate, Poynter Oldstyle, Whitney, Gotham, Surveyor, Tungsten and Retina.Tobias received a BFA in Graphic Design from the Rhode Island School of Design in 1992. He joined the faculty of the Yale University School of Art in 1996 and has lectured throughout the United States, Europe and Australia. His work is in the permanent collections of the Victoria & Albert Museum in London and the Museum of Modern Art in New York.
On November 10, 2012, Sam Hamill and Ian Boyden joined together to do an interview on Hamill's chapbook Border Songs, as well as Habitations, a collaboration between the poet, Sam, and the painter, Ian. Fewer than a dozen copies were made of the book, although in the interview Boyden recommends you forget whatever notions you hold about what a book is and can be. About 3 feet high and 10 inches wide, the cover made of fossilized maple, this book was the result of the organic collaboration between these two artists. Each page was a painting done by Boyden, using his typically atypical pigments and binders such as carbon, shark teeth, meteorites, and fresh water pearls, with the text of Hamill's poem etched into the painting by laser. In addition to the interview, at the Spring Street Center on the corner of 15th and Spring in Seattle's Cherry Hill neighborhood, Boyden spoke and took a Q&A about the collaboration and his methods, and Hamill gave a reading from his chapbook Border Songs, published by Word Palace Press. (Part 1, Part 2, Part 3, Part 4) Sam Hamill was the Founding Editor of Copper Canyon Press and author of more than forty volumes of poetry, essays, and celebrated translations from ancient Chinese, Japanese, Greek, Latin, and Estonian. Ian Boyden is an artist and writer currently working in the Blue Mountains southeast of Walla Walla, Washington. His practice in paintings and books, displays a fundamental drive to link the literary, material, and visual imagination. He makes his own paints and inks from unusual materials such as meteorites, shark teeth, and freshwater pearls. His work has been exhibited widely and is found in many public collections including Reed College, the Portland Art Museum, the Victoria & Albert Museum, and the Suzhou Museum. Website: https://ianboyden.com/ To hear the original audio, Hamill's reading, and Boyden's talk, see the archival post here. Check out more of what the Lab does here, and listen to more current and archival podcasts on Spotify or on our website.
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.
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
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
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.
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.
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.
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