Podcasts about art monthly

In this special episode, contemporary artists and filmmakers Miloš Trakilović and Jelena Visković join EMPIRE LINES live, exloring narratives of war, displacement, and visual cultures in the collapse of Yugoslavia in the 1990s, through the video essay, Colorless Green Freedoms Sleep Furiously (2023).This episode was recorded live as part of the public programme for soft enclosures, co-curated by Old Mountain Assembly, Rebecca Edwards, and Rina Meta at Forma in London, in October 2025. soft enclosures is an auxiliary programme to Dream States, Artists' Film International (AFI) 2025.For more information, visit: instagram.com/p/DMxKnjBtFf9/Colorless Green Freedoms Sleep Furiously (2023) is currently on view as part of At the End of the Small Hours, curated by What, How and for Whom (WHW) and Ana Kovačić, at the Ethnographic Museum in Zagreb until 30 November 2025.For more about Miloš Trakilović's 564 Tracks (Not a Love Song Is Usually a Love Song) (2024) at the KW Institute in Berlin, read my article in The New Internationalist: newint.org/art/2025/spotlight-milos-trakilovicMotonation (2024) is currently on view as part of Jelena Visković: HEAT: A Sci-Fi Spa Story at Tallinn Art Hall until 23 November 2025.Listen to artist and filmmaker Saodat Ismailova on Melted into the Sun (2024), on view as part of Nebula, produced by Fondazione In Between Art Film, at the Venice Biennale in April 2024: pod.link/1533637675/episode/Y2IxOWI2YTUtMTI4MS00NzdiLWEyZmUtYmMyYTQ0NmQxMTQ2Saodat Ismailova: As We Fade is at the Baltic Centre for Contemporary Art in Gateshead until 7 June 2026.Read about Marina Abramović: Gates and Portals at the Pitt Rivers Museum and Modern Art Oxford, in gowithYamo: gowithyamo.com/blog/marina-abramovic-gates-and-portals-reviewFor more about Ocean Vuong's On Earth We're Briefly Gorgeous (2019), hear contemporary artists Hoa Dung Clerget and Duong Thuy Nguyen, and gallerist Sarah Le Quang Sang, recorded live as part of the public programme for Only Your Name at SLQS Gallery in London, in July 2025: pod.link/1533637675/episode/NjZmOGE0MmQtZTk5Ni00NTQ1LWJjYjAtMmVjODYzNWMwYjdjFor more from Artists' Film International (AFI) 2025, read about Anca Benera and Arnold Estefán in this Letter from Timișoara, in Art Monthly: instagram.com/p/DFdBW0eoE55/⁠And view Anca and Arnold's Rehearsals for Peace (2023) in Seeds of Hate and Hope, curated by Jelena Sofronijevic and Tafadzwa Makwabarara as part of Can We Stop Killing Each Other? at the Sainsbury Centre in Norwich, from 28 November 2025.PRODUCER: Jelena Sofronijevic.Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcastSupport EMPIRE LINES on Patreon: patreon.com/empirelines

Episode 464 / Esteban JeffersonEsteban Jefferson was born in New York City in 1989. He received his BA and MFA from Columbia University. He's had solo shows at 303 Gallery, Tanya Leighton in Berlin and Goldsmiths in London. He's had group shows at Hangar Y in Paris, Uncle Brother in Hancock, NY, Herald St in London, the ICA in Miama and more. His work has been featured in Art Monthly, The New York Times, ArtReview, The Brooklyn Rail, Frieze, Art In America, the New Yorker, Artforum and more. 

Susan Jones worked as the director of a-n The Artists Information Company from 1980 to 2014. Her doctoral thesis Artists livelihoods: the artists in arts policy conundrum, Manchester Metropolitan University 2015-2019, exposed baseline flaws in the interrelationship between arts policies and artists' livelihoods over the last 30 years and articulated a unique new rationale for better support to artists that could enable many more to pursue livelihoods through art practices over a life cycle. She now works as an independent arts researcher and writer who holds specialist knowledge and insight about the social and political environment for artists and contemporary visual arts. She has published an essay in the latest issue of Art Monthly looking at the possibility of a new deal for cultural practitioners. In the light of the new UK Labour government, and the opportunities that may or may not bring, Owen Kelly talks to Susan Jones about possible futures. After the recording Susan pointed out that Owen had referred several times to something called “arts monthly”, when he meant Art Monthly; and that he had mispronounced Nicholas Serota's name. He should have said Nick Ser-OH-ta.

Alexandra was Editor-in-Chief of Bloomsbury Publishing for 20 years and she is now Executive Publisher. She began her career on the art magazine Art Monthly and joined Virago Press in 1978 where she edited the Virago Modern Classics series, becoming Editorial Director in 1984. In 1990 she moved to Hamish Hamilton as Editorial Director and four years later left publishing to become a literary agent during which time her clients included Amanda Foreman, Geoff Dyer, Maggie O'Farrell and Ali Smith. She joined Bloomsbury in 1999. Her list of authors includes Margaret Atwood, Richard Ford, Esther Freud, Elizabeth Gilbert, Sheila Hancock, Khaled Hosseini, Celia Imrie, Nicole Krauss, Jhumpa Lahiri, Colum McCann, Anne Michaels, Ann Patchett, Hannah Rothschild, George Saunders, 2017  Man Booker winner for Lincoln in the Bardo.Kamila Shamsie, Patti Smith, Kate Summerscale and Barbara Trapido. Abdulrazak Gurnah Gurnah was awarded the 2021 Nobel Prize in Literature

On the centenary of the fascist party's ascent to power in Italy, Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today (Bloomsbury, 2022) examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio. It charts how shows on fascism have evolved since the postwar period in Italy, explores representations of Italian fascism in exhibitions across the world, and highlights blindspots in art and cultural history, as well as in exhibition practices.  Curating Fascism treats fascism as both a historical moment and a major paradigm through which critics, curators, and the public at large have defined the present moment. It interweaves historical perspectives, critical theory, and direct accounts of exhibitions from the people who conceived them or responded to them most significantly in order to examine the main curatorial strategies, cultural relevance, and political responsibility of art exhibitions focusing on the Fascist period.  Sharon Hecker and Raffaele Bedarida speak to Pierre d'Alancaisez about the role which post-war exhibitions played in shaping our understandings of Italian Modernist art's relationship with Fascism, their contested curatorial and art historical strategies, and the continuing difficulty of reading political signs in aesthetics.  Post Zang Tumb Tuuum at Fondazione Prada Maaza Mengiste's Project 3541 On 'fascism' in contemporary art: Larne Abse Gogarty. ‘The Art Right'. Art Monthly, April 2017. Read and weep. Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. She is the author of A Moment's Monument: Medardo Rosso and the International Origins of Modern Sculpture, and co-editor of Postwar Italian Art History: Untying the Knot and Lead in Modern and Contemporary Art . For her work on Italian art, Hecker has received fellowships from the Getty, Fulbright, and Mellon Foundations. Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. An art historian specializing in transnational modernism and politics, Bedarida focuses on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is the author of Corrado Cagli: La pittura, l'esilio, L'America and Exhibiting Italian Art in the United States from Futurism to Arte Povera. Bedarida has received fellowships from the Center for Italian Modern Art and the Terra Foundation for American Art. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. 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

On the centenary of the fascist party's ascent to power in Italy, Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today (Bloomsbury, 2022) examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio. It charts how shows on fascism have evolved since the postwar period in Italy, explores representations of Italian fascism in exhibitions across the world, and highlights blindspots in art and cultural history, as well as in exhibition practices.  Curating Fascism treats fascism as both a historical moment and a major paradigm through which critics, curators, and the public at large have defined the present moment. It interweaves historical perspectives, critical theory, and direct accounts of exhibitions from the people who conceived them or responded to them most significantly in order to examine the main curatorial strategies, cultural relevance, and political responsibility of art exhibitions focusing on the Fascist period.  Sharon Hecker and Raffaele Bedarida speak to Pierre d'Alancaisez about the role which post-war exhibitions played in shaping our understandings of Italian Modernist art's relationship with Fascism, their contested curatorial and art historical strategies, and the continuing difficulty of reading political signs in aesthetics.  Post Zang Tumb Tuuum at Fondazione Prada Maaza Mengiste's Project 3541 On 'fascism' in contemporary art: Larne Abse Gogarty. ‘The Art Right'. Art Monthly, April 2017. Read and weep. Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. She is the author of A Moment's Monument: Medardo Rosso and the International Origins of Modern Sculpture, and co-editor of Postwar Italian Art History: Untying the Knot and Lead in Modern and Contemporary Art . For her work on Italian art, Hecker has received fellowships from the Getty, Fulbright, and Mellon Foundations. Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. An art historian specializing in transnational modernism and politics, Bedarida focuses on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is the author of Corrado Cagli: La pittura, l'esilio, L'America and Exhibiting Italian Art in the United States from Futurism to Arte Povera. Bedarida has received fellowships from the Center for Italian Modern Art and the Terra Foundation for American Art. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

On the centenary of the fascist party's ascent to power in Italy, Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today (Bloomsbury, 2022) examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio. It charts how shows on fascism have evolved since the postwar period in Italy, explores representations of Italian fascism in exhibitions across the world, and highlights blindspots in art and cultural history, as well as in exhibition practices.  Curating Fascism treats fascism as both a historical moment and a major paradigm through which critics, curators, and the public at large have defined the present moment. It interweaves historical perspectives, critical theory, and direct accounts of exhibitions from the people who conceived them or responded to them most significantly in order to examine the main curatorial strategies, cultural relevance, and political responsibility of art exhibitions focusing on the Fascist period.  Sharon Hecker and Raffaele Bedarida speak to Pierre d'Alancaisez about the role which post-war exhibitions played in shaping our understandings of Italian Modernist art's relationship with Fascism, their contested curatorial and art historical strategies, and the continuing difficulty of reading political signs in aesthetics.  Post Zang Tumb Tuuum at Fondazione Prada Maaza Mengiste's Project 3541 On 'fascism' in contemporary art: Larne Abse Gogarty. ‘The Art Right'. Art Monthly, April 2017. Read and weep. Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. She is the author of A Moment's Monument: Medardo Rosso and the International Origins of Modern Sculpture, and co-editor of Postwar Italian Art History: Untying the Knot and Lead in Modern and Contemporary Art . For her work on Italian art, Hecker has received fellowships from the Getty, Fulbright, and Mellon Foundations. Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. An art historian specializing in transnational modernism and politics, Bedarida focuses on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is the author of Corrado Cagli: La pittura, l'esilio, L'America and Exhibiting Italian Art in the United States from Futurism to Arte Povera. Bedarida has received fellowships from the Center for Italian Modern Art and the Terra Foundation for American Art. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

On the centenary of the fascist party's ascent to power in Italy, Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today (Bloomsbury, 2022) examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio. It charts how shows on fascism have evolved since the postwar period in Italy, explores representations of Italian fascism in exhibitions across the world, and highlights blindspots in art and cultural history, as well as in exhibition practices.  Curating Fascism treats fascism as both a historical moment and a major paradigm through which critics, curators, and the public at large have defined the present moment. It interweaves historical perspectives, critical theory, and direct accounts of exhibitions from the people who conceived them or responded to them most significantly in order to examine the main curatorial strategies, cultural relevance, and political responsibility of art exhibitions focusing on the Fascist period.  Sharon Hecker and Raffaele Bedarida speak to Pierre d'Alancaisez about the role which post-war exhibitions played in shaping our understandings of Italian Modernist art's relationship with Fascism, their contested curatorial and art historical strategies, and the continuing difficulty of reading political signs in aesthetics.  Post Zang Tumb Tuuum at Fondazione Prada Maaza Mengiste's Project 3541 On 'fascism' in contemporary art: Larne Abse Gogarty. ‘The Art Right'. Art Monthly, April 2017. Read and weep. Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. She is the author of A Moment's Monument: Medardo Rosso and the International Origins of Modern Sculpture, and co-editor of Postwar Italian Art History: Untying the Knot and Lead in Modern and Contemporary Art . For her work on Italian art, Hecker has received fellowships from the Getty, Fulbright, and Mellon Foundations. Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. An art historian specializing in transnational modernism and politics, Bedarida focuses on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is the author of Corrado Cagli: La pittura, l'esilio, L'America and Exhibiting Italian Art in the United States from Futurism to Arte Povera. Bedarida has received fellowships from the Center for Italian Modern Art and the Terra Foundation for American Art. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

On the centenary of the fascist party's ascent to power in Italy, Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today (Bloomsbury, 2022) examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio. It charts how shows on fascism have evolved since the postwar period in Italy, explores representations of Italian fascism in exhibitions across the world, and highlights blindspots in art and cultural history, as well as in exhibition practices.  Curating Fascism treats fascism as both a historical moment and a major paradigm through which critics, curators, and the public at large have defined the present moment. It interweaves historical perspectives, critical theory, and direct accounts of exhibitions from the people who conceived them or responded to them most significantly in order to examine the main curatorial strategies, cultural relevance, and political responsibility of art exhibitions focusing on the Fascist period.  Sharon Hecker and Raffaele Bedarida speak to Pierre d'Alancaisez about the role which post-war exhibitions played in shaping our understandings of Italian Modernist art's relationship with Fascism, their contested curatorial and art historical strategies, and the continuing difficulty of reading political signs in aesthetics.  Post Zang Tumb Tuuum at Fondazione Prada Maaza Mengiste's Project 3541 On 'fascism' in contemporary art: Larne Abse Gogarty. ‘The Art Right'. Art Monthly, April 2017. Read and weep. Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. She is the author of A Moment's Monument: Medardo Rosso and the International Origins of Modern Sculpture, and co-editor of Postwar Italian Art History: Untying the Knot and Lead in Modern and Contemporary Art . For her work on Italian art, Hecker has received fellowships from the Getty, Fulbright, and Mellon Foundations. Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. An art historian specializing in transnational modernism and politics, Bedarida focuses on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is the author of Corrado Cagli: La pittura, l'esilio, L'America and Exhibiting Italian Art in the United States from Futurism to Arte Povera. Bedarida has received fellowships from the Center for Italian Modern Art and the Terra Foundation for American Art. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

We meet Hettie Judah, chief art critic on the British daily paper The i, a regular contributor to The Guardian's arts pages, and a columnist for Apollo magazine. Following publication of her 2020 study on the impact of motherhood on artists' careers, in 2021 she worked with a group of artists to draw up the manifesto How Not To Exclude Artist Parents, now available in 15 languages. She writes for Frieze, Art Quarterly, Art Monthly, ArtReview and other publications with 'art' in the title, and is a contributing editor to The Plant magazine. She regularly talks about art and with artists for museum and gallery events, and has been a visiting lecturer for Goldsmiths University and the Royal College of Art in London and Dauphine University, Paris. A supporter of Arts Emergency she has mentored artists and students through a variety of different schemes. As a broadcaster she can be heard (and sometimes seen) on programmes including BBC Radio 4's Front Row and Art That Made Us. Recent books include How Not To Exclude Artist Mothers (and other parents) (Lund Humphries, 2022) and Lapidarium (John Murray, London, 2022/ Penguin, NY, 2023). She is currently working on a book and Hayward Touring exhibition On Art and Motherhood (opening at Arnolfini in Bristol, March 2024) among other things.In 2022, together with Jo Harrison, Hettie co-founded the Art Working Parents Alliance - a supportive network and campaigning group for curators, academics, gallerists, technicians, educators and others working in the arts. Follow: @HettieJudahVisit: https://www.hettiejudah.co.uk/ Hosted on Acast. See acast.com/privacy for more information.

Alexandra was Editor-in-Chief of Bloomsbury Publishing for 20 years and she is now Executive Publisher. She began her career on the art magazine Art Monthly and joined Virago Press in 1978 where she edited the Virago Modern Classics series, becoming Editorial Director in 1984. In 1990 she moved to Hamish Hamilton as Editorial Director and four years later left publishing to become a literary agent during which time her clients included Amanda Foreman, Geoff Dyer, Maggie O'Farrell and Ali Smith. She joined Bloomsbury in 1999. Her list of authors includes Margaret Atwood, Richard Ford, Esther Freud, Elizabeth Gilbert, Sheila Hancock, Khaled Hosseini, Celia Imrie, Nicole Krauss, Jhumpa Lahiri, Colum McCann, Anne Michaels, Ann Patchett, Hannah Rothschild, George Saunders, 2017  Man Booker winner for Lincoln in the Bardo.Kamila Shamsie, Patti Smith, Kate Summerscale and Barbara Trapido. Abdulrazak Gurnah Gurnah was awarded the 2021 Nobel Prize in Literature

PHYLLIS CHRISTOPHERBuy Dark Room: San Francisco Sex and Protest, 1988–2003 herePhyllis Christopher is a photographer whose work documenting LGBTQ sexuality and protest in San Francisco has been published widely in anthologies such as Nothing But The Girl: The Blatant Lesbian Image (Susie Bright and Jill Posener, 1996), Photo Sex: Fine Art Sexual Photography Comes of Age (David Steinberg, 2003), Art & Queer Culture (Catherine Lord and Richard Meyer, 2013) as well as magazines such as DIVA, Aperture and Art Monthly. Between 1991 and 1994 Christopher was the photo editor of the groundbreaking lesbian erotica magazine On Our Backs. She has featured on HBO's ‘Sexbytes', Canadian television's ‘Sex TV' and the documentary film, Erotica – A Journey into Female Sexuality. Recently, her photographs have been included in various exhibitions including ‘On Our Backs: An Archive' (The NewBridge Project, Newcastle, 2016) and ‘Still I Rise: Feminisms, Gender, Resistance' (Nottingham Contemporary, De La Warr Pavilion and Arnolfini, Bristol, 2019). She is a 2020 finalist of the Queer|Art Robert Giard Grant for Emerging LGBTQ+ Photographers.Current exhibitions by Phyllis Christopher:‘Contacts', Baltic Centre for Contemporary Art, 23 Oct 2021 – 20 Mar 2022'Heads and Tails', Grand Union, Birmingham, through March 2022For more information on Phyllis and her work please check out her websiteTHE SUN HOTEL, BRADFORDThe Sun Hotel in Bradford is the oldest lgbtq+ bar in the district. It hosts international drag queens every weekend. Once described by one reviewer as being stuck in the 80s the bar proudly owns this title as the music is cheesy, the drinks cheap and plenty of characters in attendance. For more information please check out their Facebook pagePEACE MUSEUM UKThe Peace Museum explores the history and the often untold stories of peace, peacemakers, social reform and peace movements. It occupies three small galleries in one of Bradford's many fine Victorian buildings. It is unique in that it is the only accredited museum of its kind in the UK.Peace Out is a project exploring Peace and LGBTQ+ activism. The exhibition aims to explore the journey from Stonewall, a moment in history that exemplifies violence perpetrated against LGBTQ+ people and their violent retaliation, and marks the beginning of the following struggle for equality and justice. It can be viewed online hereCheck the Peace Museum out on Twitter, Instagram and Facebook Hosted on Acast. See acast.com/privacy for more information.