Podcast appearances and mentions of Bridget Riley

Lubaina Himid talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Himid was born 1954 in Zanzibar and lives today in Preston, UK. Her paintings, sculptures and installations are an invitation to consider marginalised figures, communities and diasporic cultures, to expand the histories that frame our worldview, and ultimately to effect change. From the 1980s, Lubaina has been both artist and organiser, a prolific collaborator, and a crucial voice in establishing a platform for Black artists and women artists in the UK and beyond. Engaging directly with historic and contemporary injustice and structural racism, while relating personal and intimate experiences and feelings, and reinterpreting and reimagining Western art history, her work is rigorously critical and yet poetic, sensuous, humorous and often joyous. She talks about the early impact of Stanley Spencer and Bridget Riley, the inexhaustible influence of William Hogarth, her curatorial work of the mid-1980s and her admiration for her peer in the Black British Arts movement Claudette Johnson. She also reflects on the influence of writers including Audre Lorde and Essex Hemphill. Plus, she gives insight into her life in the studio and answers our usual questions, including the ultimate: what is art for?Lubaina Himid with Magda Stawarska: Another Chance Encounter, Kettle's Yard, Cambridge, 12 July-2 November; Connecting Thin Black Lines, Institute of Contemporary Arts, London, 24 June-7 September. Lubaina Himid, British Pavilion, Venice Biennale, 9 May-22 November 2026 Hosted on Acast. See acast.com/privacy for more information.

As the year draws to a close, it's the perfect time to reflect on the journey we've all been on, both in our personal lives and professional careers. In this episode, I delved into my year, my struggles, and most importantly, the lessons I've learned along the way. Here's a closer look at what I shared in this special wrap-up episode and some insights that might inspire your own fearless journey.I chatted about:1. Consistency is Key—Even When PodcastingStarting a podcast was a giant leap out of my comfort zone. Although it's been a learning curve, I committed to releasing two episodes a month and stuck with it.If you're thinking about starting your own podcast or another content creation venture, remember: it's all about consistency. You don't need to have everything figured out from the get-go, but showing up regularly is half the battle. If I can do it, you certainly can too!2. The Power of In-Person EventsAfter a long hiatus due to COVID, I finally resumed hosting in-person workshops. Initially, I was apprehensive, but the experience was incredibly rewarding. There's something truly magical about being in a room full of passionate business owners, sharing ideas and learning together.So, if you have the opportunity to host or attend events, do it. It's a fantastic way to network, share your expertise, and grow as a person and professional.3. Outsourcing—A LifesaverThis year, I invested in a robot vacuum that also mops. It may sound trivial, but this little gadget significantly eased my domestic load, allowing me more time to focus on my business and self-care.Outsourcing tasks, whether it's through technology or hiring help, can free up valuable time and mental space. So, don't hesitate to delegate what you can. Your time is precious!4. Consistency in Content CreationDespite advocating for consistent branding, I realised that my content creation had been sporadic. Like many creatives, I got caught up in the doing, leaving little time to share my work. Moving forward, I plan to showcase more of my projects consistently.Take this as a nudge to be more visible—share your work regularly and celebrate your achievements. Your audience wants to see what you're up to!5. Embracing Change and Personal Touches in BrandingI'm excited to incorporate more of what I love into my branding. Inspired by my lifelong fascination with optical art and artist Bridget Riley, I'll be adding black and white geometric patterns to my brand visuals in 2025.Your brand should be a reflection of you. Don't shy away from making it uniquely yours by adding elements that bring you joy and resonate with your story.I hope these reflections resonate with you. Remember, our branding journey is ever-evolving, and there's always space for growth and change.Let's make 2025 a year of bold moves, fearless decisions, and remarkable growth. I'd love to hear from you. What are your goals for the new year? How do you plan to evolve your brand?Wishing you a wonderful holiday season and a fearless 2025!x MorganConnect with me:Follow The Fearless Designer on Instagram@the.fearless.designerHead to The Fearless Designer Website for more infowww.thefearlessdesigner.com.au

“I appreciate the Rococo for its extravagance and theatricality, as it appeals to my love of kitsch.”- STUART NETSKY      Netsky is a conceptual artist making paintings, mixed media sculptures, prints and other objects. An original voice and artist whose work jumps off the canvas and confronts us with the eclectic absurdity of our image inundated culture. A lover of the theatrical, mixed with his unique version of pop and Romantic master painting.  His work is made in distinct series, creating a pictorial eclecticism that obscures our ability to make sense of the image, acting as a metaphor for the confusion and shifting dichotomies in social interactions.Digital images speak to our technologically driven world and reflect the temporal paradox in pop culture whereby the past is brought to the present, the present to the past. He digitally appropriates art and historical images with those from film and popular culture, juxtaposed with psychedelic and floral patterns and mixes them all together. His influences include Francois Boucher and Gerhard Richter, Jean-Honore Fragonard, Gene Davis, Bridget Riley, Nicholas Krushenick and Jean-Antoine Watteau, among others - the rococo and abstraction, op art and pop art, anime and realism, and the psychedelic all come together, layered, spliced and distorted, materials that evoke the psychosexual. He views his practice as a drag display operating within the  time he has lived in while embracing nostalgia and romanticism for their tender and universal  sensibilities. He received a Master of Art in Art Education from Philadelphia College of Art in 1986 and went on to receive a Master of Fine Art in sculpture from Tyler School of Art, Elkins Park, PA in 1990. Netsky was an Adjunct Professor at The University of the Arts, Philadelphia, and is currently an Adjunct Assistant Professor at Jefferson University. He has had solo exhibitions of his work at Philadelphia's Institute of Contemporary Art, Larry Becker Contemporary Art, Richard Anderson, NYC, Locks Gallery, Bridgette Mayer Gallery, and a retrospective at the Rosenwald Wolf Gallery, University of the Arts. He has also shown in innumerable group shows nationally and internationally. In 1995, he received the Pew Fellowship in the Arts. His work is in the collections of The Philadelphia Museum of Art, The Southern Alleghenies Museum of Art, The Jane Voorhees Zimmerli Art Museum, Woodmere Art Museum, as well as the Johnson and Johnson Collection and many private collections.   

I am so excited to say that my guest on the GWA Podcast is Maria Balshaw. Currently serving as Director of Tate, a position she has held since 2017, Balshaw began her career as an academic and lecturer in cultural studies. At the dawn of the 2000s, she swapped this to become Director of Creative Partnerships, a government programme that aimed to develop creativity in young people by bringing schools and artists together, which was sadly cut after the Labour Government was replaced by the coalition. In 2006, she became the director of the Whitworth Art Gallery, and in 2011, took on the additional role of director of Manchester City Galleries, and, to cement her reign in Manchester, she was made Director of culture, while also earning herself a CBE. But it's been under her premiership at Tate – as the historic institution's first ever female director – where we've seen some of the most groundbreaking shows take place in recent years. From Women in Revolt, that explored the trailblazing work of feminist communities in Britain; Now You See Us: Women Artists 1520–1920, that essentially rewrote art history from a female perspective – and even introduced me to hundreds of names I hadn't heard of; or Life Between Islands: Caribbean British Art from the 1950s to today. There's been solo shows of Yoko Ono, Paula Rego, Zanele Muholi, Sarah Lucas, Cornelia Parker, and so much more – and… I'm sure more to come. Tate today is fizzing with great shows, an institution no doubt unrecognisable to when Balshaw first visited aged 16 when she came down to London on the train from her hometown, Northampton in search of modern art. Though she found the dizzying world of Bridget Riley, it was mainly the Picassos on the wall. And while that's still good art, representation of different communities, cultures, genders and classes, is important. And there is no denying that having people in charge who are invested in the importance of this, has a huge impact on how art history has been and is being written – which Balshaw is at the centre of shaping. And, I am excited to say, she has just published a book, Gathering of Strangers, about museums: their origins, roles, and complexities, and the future of what they mean today. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

For the 29th episode of "Reading the Art World," host Megan Fox Kelly speaks with Richard Shiff, art historian and author of “Writing after Art,” published by David Zwirner Books. Richard shares how he comes to understand an artist's work in a way that will inspire us to observe and understand artists and their processes more fully.“Writing after Art” is an expansive anthology of Richard Shiff's most influential writings, many of which have shaped the art world's understanding of 20th and 21st century artists. These writings first appeared in exhibition catalogs for institutions including the Centre Georges Pompidou, the Solomon R. Guggenheim Museum, The Museum of Modern Art, New York, and Tate Modern, and they spotlight modern masters such as Willem de Kooning, Marlene Dumas, Jasper Johns, Donald Judd, Barnett Newman, Pablo Picasso, Bridget Riley and Peter Saul.Richard Shiff is the Effie Marie Cain Regents Chair in Art at The University of Texas at Austin. His interests range broadly across the field of modern and contemporary art. His publications include Barnett Newman: A Catalogue Raisonné (coauthored, 2004), Doubt (2008), Between Sense and de Kooning (2011), Ellsworth Kelly: New York Drawings 1954–1962 (2014), Joel Shapiro: Sculpture and Works on Paper 1969–2019 (2020), and Sensuous Thoughts: Essays on the Work of Donald Judd (2020). He is currently completing a comprehensive study of the art of Jack Whitten.PURCHASE THE BOOK:  David Zwirner BooksSUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

The grandfather of British Pop Art, Sir Peter Blake is one of most influential and popular artists of his generation. A Royal Academician with work in the national collection, including Tate and the National Portrait Gallery, he is renowned for paintings and collages that borrow imagery from advertising, cinema and music. Having created The Beatles' Sgt Peppers Lonely Hearts Club Band sleeve in 1967 he became the go-to album designer for other musical artists including The Who, Paul Weller, Madness and Oasis. He was knighted for services to art in 2002.Sir Peter tells John Wilson how, after a working class upbringing in Dartford, Kent, he won a place at the Royal College of Art alongside fellow students Bridget Riley and Frank Auerbach. He recalls being influenced by early American pop artists including Jasper Johns and Robert Rauschenberg, and how he began making art inspired by everyday popular imagery. He chooses Dylan Thomas's 1954 radio play Under Milk Wood as a work which captivated his imagination and later inspired a series of his artworks based on the characters, and also cites Max Miller, the music hall artist known as 'the Cheeky Chappie'; as a creative influence. Sir Peter remembers how he made the iconic Sgt Pepper sleeve using waxwork dummies and life size cut-out figures depicting well-known people chosen by Peter and The Beatles themselves. Producer: Edwina PitmanArchive used: Under Milk Wood by Dylan Thomas, performed by Richard Burton, BBC Third Programme, 25 Jan 1954 Max Miller, introduced by Wilfred Pickles at the Festival of Variety, BBC Light Programme, 6 May 1951 Max Miller archive from Celebration, The Cheeky Chappie, BBC Radio 4, 3 July 1974 Monitor: 89: Pop Goes The Easel, BBC1, 25 March 1962 Peter Blake: Work in Progress, BBC2, 21 February 1983 Newsnight, BBC2, 7 February 1983 Ian Dury, Peter the Painter

June Art Market Dynamics: Bridget Riley's Auction Record, Damien Hirst's Prints, and Prints & Editions Watch During the podcast, Sheena Carrington & Jasper Tordoff get together to discuss various topics related to the art market dynamics in the month of June. Sheena Carrington mentioned that June is an important month for the art market as it marks the end of the first half of the year's sales. She also mentioned the impact of Christie's cyber attacks and the influence of print sales, as well as the Art Basel exhibition in Switzerland. Jasper Tordoff, a sales specialist, joined the discussion and shared his expertise on artists like David Hockney, Bridget Riley, Damien Hirst, and others. They discussed the recent Phillips auction, where a work by Bridget Riley set an auction record for any print by the artist. They also discussed the performance of Damien Hirst's "The Virtues" prints and the overall state-of-the-art market. They mentioned the recent Bonham's auction, which had a poor sell-through rate, and discussed the correlation between the performance of Hockney's originals and prints in the market. They also mentioned upcoming Hockney prints that will be featured in the end-of-month June auctions.

What you'll learn in this episode: Jennifer's unique process of layering acrylic and art images, and how she discovered her signature technique. Why the most important thing a young artist can do is find their voice. Why Jennifer rarely uses images her customers request in her jewelry. How Jennifer's work ties into the history of pop and op art. Why Jennifer sees other art jewelers as inspiration, not competition. About Jennifer Merchant: Jennifer Merchant is a studio t based in Minneapolis, MN. She graduated with a BFA in Metals and Jewelry from the Savannah College of Art and Design. She is a full-time artist showcasing her work in galleries, museums and exhibitions. Her work has been published in several national magazines such as American Craft, Ornament and Delta Sky Magazine. Merchant is best known for her innovative layered acrylic process in which images and prints are layered between solid acrylic. Her work is graphic with clean lines and modern aesthetic. Pieces confound viewers, appearing transparent from one angle of view while showcasing bold patterns and colors from another. Photos available on TheJewelryJourney.com Additional resources: Website Facebook Instagram Twitter Transcript: Like the op and pop art that inspires it, Jennifer Merchant's jewelry challenges your eye. Clear from some angles and bold and colorful from others, the jewelry is created by layering acrylic with images from art books. Jennifer joined the Jewelry Journey Podcast to talk about how she developed her technique; how she chooses the images in her jewelry; and why art jewelers need to work together to push the discipline forward. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Jennifer Merchant. Jennifer was also a guest several years ago. She thought she would be a metalsmith but segued to acrylic jewelry, which is what she has become known for: creative and innovative acrylic jewelry such as necklaces, bracelets, earrings and brooches. They have eye-catching graphics embedded in them. I was also surprised to learn that hand carving is sometimes involved. Welcome back. When you left college, did you know you were going to have your own business? Jennifer: Not right away. I think it took me about five years to really get the confidence together to start my own business. I definitely spent that first five years after graduation very lost and not really sure what in the heck I was going to do with my jewelry degree, especially because I went to school in Savannah, Georgia. That's where I made all my art connections and jewelry connections. Moving back to Minneapolis, I was off on my own. I didn't have a community at that point. It definitely was a number of years of wondering, “How am I going to end up using this degree that cost me so much money?” I had been waiting tables and was increasingly unhappy because I knew I had something different to offer the world. I ended up getting fired from a job. I had been speaking with a friend at work who had another friend that was putting on an art show. She had told me about it because she knew I was an artist. I remember getting fired from the job and calling her up right away, like, “I think I want to do that art show because I need to try to make some money.” It went okay, and it inspired me to say, “Jewelry is something you can do and make a living with. Let's give this a shot.” I had to move back home with my mom for a couple of years and cut my expenses way down, because I wasn't going to take out another loan to start a business. I built it very small, very scrappy. I had a second bedroom in my mom's house where I had my workshop, and I started from there doing little local events. That's where it all started. Sharon: Wow. What's the biggest piece of advice you can give to somebody who's just starting out? Jennifer: I would say when you're just starting out, really try to find your voice. Sharon: What do you do? What does one do when they find their voice? For instance, some people have found the voice, but they're homemakers or they work in an office. What do you do when you find your voice? Jennifer: I think once you know what you want to say, the next step is finding out who wants to hear it. And that is a very hard step, finding your niche and finding your people that resonate with your voice. I think the only way to really do that is to get yourself out there, get your work out there. I think with the Internet now and how accessible online stuff is, it might be a little easier to get yourself out there through social media, through the Internet, than maybe it was years ago when you had to have a physical presence out in the world. People can start by getting their work out there online and hopefully seeing who is interested, who connects with it, and then finding places in the real, outside world to continue that process and eventually find your market. Sharon: Do you have people who come to you with the image they want to include already? Jennifer: Not very often. I've had people ask me about that, but I think ultimately, I have to be drawn to the image specifically in order to be able to incorporate it in a piece. I did have a client that had a specific art piece she wanted in a bracelet for her daughter. That I was able to do because I resonated with the work and it was something that worked well within the form of jewelry. I've also had requests where someone wants family mementos or something encased in the acrylic. That's a very cool, sentimental thing, but visually, it doesn't really work with my aesthetic as well. I'm not going to do something just because I get asked for it. I also have to be drawn to it enough in order to go through with it, because it is a labor-intensive process and it is an art of passion. If I'm not super excited about the thing I'm making, it's probably not going to turn out that great either. I have tried to do things early on in my career specifically for a client that just didn't quite work out. We weren't on the same page. I think as you get more into it, you figure out the types of things you can push the boundaries on and the types of things that you can't. When someone's request is something that you can do and make them happy with, and when it's just not something that'll work out, you know. Sharon: That's interesting. So if somebody brought you their wedding photo, it depends on whether you like the wedding dress or something like that. Jennifer: Or if it has enough visual interest. I think the thing that makes my work successful is the images that I do use are interesting within a small scale of jewelry, and not all images can do that. I work with a lot of op art and pop art, and there's a lot of visual interest going on in a small space. With a photograph or something more sentimental, that's not always the case. It just wouldn't look as cool as they think it's going to. Sharon: I've seen comic books used in your work. How did you come to that? Jennifer: All of the things in my work that look like comic books are actually Roy Lichtenstein pieces. His pop art was inspired by comics, and he reimagined them into huge canvases and paintings. My jewelry does something similar, where I take Roy Lichtenstein's work and images and collect tons of books and rip out those pages and put that in my jewelry. It feels kind of meta. I've actually met some of his descendants and collectors and friends over the years, and a lot of them assure me that he would really appreciate what I'm doing with his work. It's a very similar idea as to how he repurposed art and things that he saw into something new and different. Sharon: That's interesting. I didn't know that. Did you study art history in college as you were studying jewelry and metal and all that? Jennifer: Yeah, art history is definitely part of your Bachelor of Fine Arts degree. It wasn't always my favorite class because the art history classes were about art that was ancient and a lot of religious art and that sort of thing. I think I had one class where it was modern art in the 20th century, which, of course, is the most interesting to me. But that art history background definitely sparked some interest in different art movements and art periods. Art Deco is a very favorite design motif of mine. As I was talking about earlier, I'm very inspired by pop art and op art. I think art history plays a huge role. I never thought at the time when I was in school that I would end up studying more about art history and specific artists and doing that kind of research, but it is really important to my work now. Sharon: Can you explain what the difference between pop art and op art is? Jennifer: Sure. With pop art, everyone knows Roy Lichtenstein and Warhol. They took popular things or everyday objects like a soup can and made them stylized and put them in the context of fine art as this kind of ridiculous thing. Op art deals with optical properties. A lot of op art is very linear. It kind of tricks your eye. It looks like it's moving, but it's a static image. Funny enough, when I started working with op art, I was actually collecting those optical illusions books for kids. There'd be very few usable images in there, but there'd be a few black and white, scintillating-looking, squiggly-lined spirals or something like that. That sparked my interest in optical art and looking it up outside of the context of those silly books for kids. I found out this is a whole art movement, and there are artists like Richard Anuszkiewicz and Victor Vasarely and Bridget Riley that pioneered this in the 60s, when it really became a thing. I just find it so fascinating. But it's kind of funny that my two art movements that I use a lot in my work are pop and op. Like, who knew? Sharon: Do you ever use any other kind besides those? You say you like Art Deco. I don't know what you'd use for an image, but I guess you could use an Art Deco image. Jennifer: I think with Art Deco I am more inspired by the overall forms of pieces or the shapes. I like the ideas. I like the repetitive nature of Art Deco. They went from Art Nouveau, where it was all crazy and ornate, and then Art Deco kind of simplified things. It was a little more streamlined. I really like that. I think I carry those design principles through my work, not as much the direct visuals. Although if I could find great books with Art Deco prints of patterns or wallpapers or whatever, I'd love to use those. I just haven't quite found the right image sources yet for that. Finding pop art and op art books has been pretty easy for me, and the images are just so striking, so that's why I've gravitated towards those. I'm open to other types of art and other artists. I just haven't moved on yet from the things I am working on. I can only focus on so many things at a time, but I could see myself doing some collections using Rothko paintings or Gerhard Richter with those interesting images, Jackson Pollock with the splashes. Those kinds of things I could see being very interesting within the context of layered acrylic. It just depends on where my book collection takes me. Sharon: So, if we're looking at used books at a used bookstore, we should keep our eyes open for interesting things that could be used as interesting prints. Jennifer: Yeah. I actually buy so many of my books online because physical shops only have so many things, and what I'm looking for is so specific. The art sections are usually kind of small, so I've ended up finding a lot of online retailers. I've gotten pretty good at being able to figure out whether a book is going to be visually interesting based on the online listing. I will even look at the size of the book, if they list dimensions, to give me ideas. If it seems like a good coffee table art book with lots of pictures, that's what I'm trying to find. Something with lots of great images. Sharon: It sounds like people would be very interested in your leftovers. Jennifer: I have a whole shelf of these books that are like little skeletons. You can see the sections where I've really gone to town ripping pages out, and then other sections that are left. There's plenty of things I leave in the book that I think are amazing, but they just aren't going to work for jewelry. Yeah, I've got a lot of skeleton books on my shelf. I keep them. I can't get rid of them. Sharon: I like that, skeleton books. Once again, it's a Herculean task, the whole thing of starting your own business. Would you say that there is somebody that inspired you and keeps inspiring you? Jennifer: I wouldn't say it's a specific person. I think after that initial, tiny show that I did trying to sell my work, I think the most inspiring thing was seeing the other artists and seeing people that were making a living doing their work. I think that's what's really inspiring to me, finally meeting other people that were already doing what I wanted to do and realizing, “Wow, this is a viable career path.” There's not a lot of artists in my family, so no one really had any advice to give me back in the day. They weren't necessarily unsupportive, but they didn't really know how to encourage my art, either. It's been very helpful getting out there and seeing people that are doing things and just being inspired. Different artists and different people inspire me for very different reasons. Some artists, their work is the thing that inspires you, and other artists have such a great work ethic or a really creative way of marketing. I try to keep my eyes and ears open all the time, and I let inspirations muddle around in my brain. And then one day some other thing will trigger an idea. You just never know. I try to always be open. Sharon: I'm surprised; I usually see you at shows where there are a lot of other art jewelers, which is what I categorize you as. I see art jewelers, makers a lot. I'm thinking of New York City Jewelry Week, which is where I saw you once or twice. The last time I saw you, I wasn't able to say hello. I would think you'd be more—well, maybe it's the way I am, but I'd be more envious or competitive seeing all the other art jewelers, as opposed to finding inspiration. Jennifer: I don't know. I don't think of it as a competition in any way. I think it helps me a lot because my work is so different from everyone else's, so there isn't a super direct comparison. I think maybe for some other types of jewelers it might be a little different because there is more of a direct comparison with their aesthetic or their materials. In that respect, there isn't really competition. I used to be a lot more of a competitive person, but as I've gotten older and been in the business long enough and met all different artists, you just see that it's so much more about passion and drive. You can be successful doing just about anything if you're willing to put the work in. I've met so many different people with so many different types of jewelry and art, and they're successful in radically different ways. Even if some other artist is successful in a way that will never work for me, I still love learning about what they're doing. Even if it doesn't directly apply to me, there's something in that lesson, in listening to them and their story that might click something for me in an indirect manner. So, I really do try to be open and inspired by everyone, and I definitely don't see it as competition. I think it's great seeing more and more art jewelers getting work out there, making things that are big and bold and wild and weird materials. The more of it that's out there, the better for all of us, because then the consumer or the client is seeing more of it out in the world. Then when they come across my work, it might not seem as weird or as off putting. They might get it a little bit faster and a little bit easier because of all the other people that came before me and all the people that are alongside me. I think working together as a community, being inspired by each other, helping each other be successful, that can only help all of us. Sharon: Do you think when people first see your art, they don't think of it as jewelry because it doesn't have diamonds or emeralds? Do they think of it as a throw away, in a way? Jennifer: Oh, yeah. I've had the gamut of reactions to my work, and it really depends on the setting it's in as well as how people respond to it. There are definitely people out there that, to them, jewelry is diamonds and gold, and that's fine. I might not be able to change their mind. Other people see the work and, right away, think it looks cool. Maybe they didn't even know it was a bracelet, but they were drawn to it. Then when they find out it's an actual wearable piece, they're even more blown away. You never know what kind of reaction you're going to get from people. I've definitely had to do a lot of educating on my process and the materials because when someone sees a plastic necklace that costs $2,000, they kind of scratch their heads, like, “What is going on here?” And then I tell them all about the process and all the different steps and all the different things that went into it. Sometimes you win people over, and sometimes they're like, “Why bother?” I just try to pay more attention to the people that are won over and interested. If they're not, that's fine. I know my work is not for everyone, and I'm okay with that. Sharon: That's an interesting philosophy. You've given me a different perspective as well on your jewelry. Thank you for being here today, Jennifer. Jennifer: Yes. Thank you so much for having me. It's been a pleasure. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

We're diving into the hypnotising world of Op Art, shining a spotlight on the remarkable contributions of a woman artist arguably overlooked in traditional modern art narratives – Bridget Riley. Riley is such an important artists and her print market is truly fascinating given that each of her collections was produced in relatively small edition numbers making them rare finds, more affordable finds and in my opinion slightly undervalued given her important contributions to art history. Introducing our guest expert, Jasper Tordoff. Jasper is our sales specialist at MyArtBroker, whose expertise in Riley's market is unparalleled.

Bridget Riley is a British artist who was born in 1931 and lives in London, UK. The National Gallery has 15 works of art by Riley in its collection, including the new acquisition Dancing to the music of time 2022. In this episode of Artists' Artists, host Jennifer Higgie visits Riley in her London home to talk about four works of art from the national collection that mark seminal moments in the artist's career. To find out more visit www.nga.gov.auArtworks Discussed: Howard Taylor, No horizon 1994, National Gallery of Australia, Kamberri/Canberra, purchased 1997 © Howard H. Taylor EstateBridget Riley, Gamelan 1970, National Gallery of Australia, Kamberri/Canberra, purchased 1971 © Bridget Riley 2022. All rights reservedGeorges Seurat, Study for Le Bec du Hoc, Grandcamp 1885, National Gallery of Australia, Kamberri/Canberra, purchased from proceeds of The Great Impressionists exhibition 1984Jackson Pollock, Blue poles 1952, purchased 1973 © Pollock-Krasner Foundation. ARS/Copyright Agency Hosted on Acast. See acast.com/privacy for more information.

Welcome to Jo's Art History Bite Size - small manageable podcast episodes which allow me to deep dive into a specific art work or artist in 10 minutes or less. This week I take you on a whistle stop tour of the life and work of Bridget Riley. Resource Links: https://tanyabaxtercontemporary.com/bridget-riley-ra https://artuk.org/discover/artists/riley-bridget-b-1931 https://mediacentre.kallaway.com/the-courtauld-gallery/press-releases/-bridget-riley-learning-from-seurat- https://www.theartstory.org/artist/riley-bridget/ Want to connect? Email: josarthistory@gmail.com Instagram: @josarthistory Please consider supporting the podcast by buying me a book from my Wishlist - this will go towards future episodes of the podcast: https://www.amazon.co.uk/hz/wishlist/ls/FZ1XZKILJJCJ?ref_=wl_share

Episode No. 602 features artist Christina Fernandez and curators Nolan Jimbo and Rachel Federman. Fernandez's work is included in the Hammer Museum, University of California, Los Angeles' post-renovation-and-expansion debut exhibition "Together in Time: Selections from the Hammer's Contemporary Collection." It's on view through August 20. The Amon Carter Museum of American Art in Fort Worth is also showing "Christina Fernandez: Multiple Exposures," a survey of Fernandez's career, through July 9. It was curated by Joanna Szupinska and Chon Noriega. A fine catalogue was published by the California Museum of Photography, University of California, Riverside, which organized the show, and the Chicano Studies Research Center, University of California, Los Angeles. Fernandez is a photographer whose work examines migration, labor, gender, and Mexican American identity. Amazon and Bookshop offer it for about $50. Jimbo is the curator of "Endless," at the Museum of Contemporary Art Chicago. The exhibition brings together art that touches upon the concept of infinity, including works by Hiroshi Sugimoto, David Lamelas, Etel Adnan, and Charles Gaines. It's on view through April 14, 2024. With Cynthia Burlingham and Jay A. Clarke, Federman is the co-curator of "Bridget Riley Drawings: From the Artist's Studio," a survey of Riley's drawing practice primarily drawn from the artist's own collection. It is on view at the Hammer through May 28 before traveling to the Art Institute of Chicago and the Morgan Library, New York. An excellent exhibition catalogue was published by Modern Art Press, London. Amazon and Bookshop offer it for about $30.

We're talking about the burgeoning opportunities for new and established collectors of beautiful rare objects, looking forward to London Craft Week, with Guy Salter, the fair's founder.   Now in its ninth year and dubbed ‘the most luxurious craft fair in the world', the fair spreads right across the capital, incorporating Acton and Park Royal as Creative Enterprise Zones for the first time. There will be exciting events and exhibitions celebrating the Coronation and London Craft Week will also showcase the work of over 700 artists, designers and makers from across the world and include four international pavilions from Austria, Malaysia, South Korea and Taiwan.   We also talk to Nazy Vassegh, founder of the boutique art platform Eye of the Collector.  The third edition of The Eye of the Collector fair is running between 17th and 20th May at Two Temple Place, the majestic 1892 Neo-Gothic building, commissioned by William Waldorf Astor, on London's Strand.  Of the 120 works for sale, many will be of museum quality or by huge names including Frank Auerbach, Barbara Hepworth and Bridget Riley but will there will also be 60 new works, aiming to shine a light on emerging artists and designers and overlooked talent.  Our third guest is celebrated couturier and interior designer Tomasz Starzewski, who's now collaborating with the specialist ceramics and craft auctioneers Maak to curate an installation of exquisite pieces from the collection of the late Victoria Lady de Rothschild. The installation is now open in Buckinghamshire, at Ascott House, the home Lady de Rothschild shared for over a decade with her husband Sir Evelyn.  Victoria Lady de Rothschild designed Ascott House, alongside Renzo Mongiardino and it's now the beautiful setting for 118 carefully chosen and placed objects that she collected on her travels for over 20 years.  They will be displayed throughout the house until September when Maak will auction them. London Craft Week:  throughout the capital from Monday 8th to Sunday 14th May The Eye of the Collector: at 2 Temple Place from Wednesday 17th to Saturday 20th May Highlights from Victoria Lady de Rothschild's Collection: at Ascott House until September

Episode Notes https://www.ubu.com/aspen/aspen3/ Aspen magazine issue three is an utterly important document of pop art, a magazine a document of pop art Go figure, but Aspen was different. It was a magazine in a box. It was a bunch of loose printed pieces and audio pieces and sometimes even video pieces placed into a box and sold the 1960s and into the early 70s. I own three of them and sadly not issue three which is the pop art issue, which was designed by Andy Warhol and David Dalton. And this is an absolutely massively important piece. The pieces range from the Velvet Underground, the view from the bandstand which includes their a flexi disc and some of their music. It includes pieces by John Cale and Peter Walker, a wonderful 12 paintings from the powers collection. And that's the art collection of Thomas powers. And it has James Rosenquist, Bridget Riley, Joe Lang, Lichtenstein, Noland Warhol, Klaus Oldenburg plays Oldenburger Larry Poons, Jasper Jones, de Kooning, an underground movie flipbook by Warhol were you flipping it includes Warhols kiss a 10 trip ticket book, which was from the Berkeley conference on LSD, the plastic exploding inevitable, which is a one shot newspaper done for the Velvet Underground and Warhols factory show series. what's incredible about this isn't necessarily the quality of individual pieces, but how the consolidation of them into a box makes so much sense with the method because the cover is done as a mock of FAB detergent, and it says fab 10 cents off and then there's now Aspen it's an incredibly pop art image. And since it's a box, it's mocking and mimicking a boxed product. In essence, this is exactly what pop art is doing. It is documenting the everyday world and showing it back at you in a way that you will recognize and this magazine and the link I'll include is just phenomenal. And I'll do another couple of aspen issues, including two that I own. So stay tuned. Find out more at https://three-minute-modernist.pinecast.co

Name: Flora Reading: Looking to Sea, Lily Le Brun Why did you want to read this? I chose to read Looking to Sea because it is a thoughtful, insightful reflection on 100 years of modern art in Britain, written by the brilliant Lily Le Brun. As the daughter of an artist and a painter myself, the work of many of the artists in this book is intrinsic to the fabric of who I am. Le Brun's exploration of the practices and pieces of Vanessa Bell to Bridget Riley provides an insight into more than just the why or how of their art; Le Brun captures the very essences of the artists themselves. How did you record yourself? On my laptop in bed/on the sofa with my cat curled up beside me.

We openly discuss Op art and artists George Westren, Bridget Riley, and Gerhard Richter. Check out the Living Too Late website for new paintings for sale and more Podcasts. https://www.livingtoolate.co.uk/ #opart #bridgetriley #georgewestren #artpodcast #mentoring #tatemodern

Breaking Silence.This is Rachel's first interview in three years - we are honoured. Serendipity.Rachel saw Lol Kissing on tour - or did Rachel see Lol on the Kissing tour? Slowdive's future drummer Simon was two rows behind RachelThough they didn't meet for another 1000 days.Splendiferous.Kabuki intro made the crowd go mental Spinal Tap moment Pornography playing 100 years without a crash helmetRachel's revolving Toronto stage. Every bad haircut and stupid interview on the Web forever. Seditionaries.Rachel didn't see a female tech until the late 90's Christian would wear a dress if it got him in the band The Cure's Pearl had interesting outfits More female techs in music today - yay!Subversives.Budgie honorary female with The Slits Lol didn't leave his hotel for three days in NYC!Lol and Budgie say Exeter for the book tour.Salvationists.Still Talking after All These YearsBudgie and Viv Albertine - as if for the first time Budgie? All will be revealed in the next episode of ‘Frankie Goes to Hollywood' Lol? Micky D and his mum say, Laurence! In Japan, it's Mr Bud Gee SanSentinels.At 12, Rachel loved Joni Mitchell and Grace jones, at 14, Siouxsie Lol and Budgie dig the Joni Mitchell bio Lol has Sylvia Plath's ‘Bell Jar' in many versions.Rachel will seek out Bridget Riley. Inspirational Siren: Nico (October 16, 1938 – July 18, 1988) CONNECT WITH US:Curious Creatures:Website: https://curiouscreaturespodcast.comFacebook: @CuriousCreaturesOfficialTwitter: @curecreaturesInstagram: @CuriousCreaturesOfficialLol Tolhurst: Website: https://loltolhurst.comFacebook: @officialloltolhurst Twitter: @LolTolhurst Instagram: @lol.tolhurst Budgie: Facebook: @budgieofficial Twitter: @TuWhit2whooInstagram: @budgie646Curious Creatures is a partner of the Double Elvis podcast network. For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app.

The wonderful Jennifer Coates is back in the co-host seat this time to help me kvetch about all things art and being an artist. We come correct with a panoply of over 35 heartfelt pet peeves. It was our pleasure to also dive into the IG mailbag for some Listener Peeves! Where do pushpins go when they fall to the floor and immediately vanish? Why is titanium white sold out more often than not? Why are applications so often left on "read"? Also, why is the art world so ageist? These and so many more peeves will be aired and brought into the light. We hope you'll relate to our shared angst and grind your teeth along with us. Join in for some non-toxic negativity! Jennifer Coates: web: http://www.jenniferlcoates.com/ ig: @jennifercoates666 Peeve Contributors: Thank you to the following artists: Monica Church, Bonnie Paisley, Jessica Plattner, Natalie Lerner, Lawre Stone, Joey of Radius Studios, Jane Fine, Jane McKenzie, Amy McCormac, Kat Dufault, Mary McFerran, Melissa Capasso, MaryAnne Murray, Kirsten Borror, Alicia Mikles and Linda Stillman Other Artists Mentioned: Michael Berryhill, Bridget Riley, Frida Kahlo, Albert Pinkham Ryder, Clarity Haynes Essays/Articles Mentioned: Talking to yourself is a sign of intelligence: https://bigthink.com/neuropsych/why-talking-to-yourself-out-loud-might-be-just-what-your-brain-needs/ Clarity Hayne's amazing essay "On Detail": https://tartblog.wordpress.com/2013/11/06/on-detail-embracing-the-forbidden/ Thank you to all who helped make this episode a reality by sending in peeves! ---------------------------- Pep Talks on IG: @peptalksforartists Amy's website: https://www.amytalluto.com/ Amy on IG: @talluts Donate to the Peps: Buy Me a Coffee or https://anchor.fm/peptalksforartistspod/support. All music tracks and SFX are licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

We meet Alex Rotter, Chairman of Christie's 20/21 Art Departments, to discuss Christie's New York forthcoming auction 'Visionary: The Paul G. Allen Collection' which runs from 9–10 November 2022 at Rockefeller Center. The collection of philanthropist Paul G. Allen, co-founder of Microsoft, includes more than 150 masterpieces spanning 500 years of art history. Reflecting the depth and breadth of Paul G. Allen's collection, the auctions connect this visionary innovator to a range of ground-breaking artists, joining Paul Cezanne with David Hockney, Alberto Giacometti with Louise Bourgeois, Georges Seurat with Jasper Johns and Agnes Martin with Yayoi Kusama. Valued in excess of $1 billion, The Paul G. Allen Collection is poised to be the largest and most exceptional art auction in history. Pursuant to his wishes, the estate will dedicate all the proceeds to philanthropy.From 29 October – 8 November 2022, view The Paul G. Allen Collection in-person at Christie's Rockefeller Center galleries in New York. Follow @ChristiesInc and visit their official website: https://www.christies.com/en/events/visionary-the-paul-g-allen-collection/overviewFrom Canaletto's famed vistas of Venice and Paul Cezanne's magisterial vision of the Mont Sainte-Victoire to Gustav Klimt's Birch Forest, Georgia O'Keeffe's 'Red Hills with Pedernal, White Clouds', and latterly, David Hockney's joyful depictions of his native Yorkshire, the collection highlights landmark moments in the development of landscape painting through centuries. Botticelli's Madonna of the Magnificat, Georges Seurat's pointillist masterwork Les Poseuses, Ensemble (Petite version) and Lucian Freud's Large Interior, W11 (after Watteau) demonstrate the enduring power of the human figure in art, while the polyvalent practice of artists such as Max Ernst and Jasper Johns show how artists can subvert tradition to move art forward. We explore some of our own personal favourite works by Georgia O'Keeffe, Agnes Martin, David Hockney, Louise Bourgeois, Bridget Riley and Barbara Hepworth.Alex Rotter grew up in a family of art dealers in his native Austria, and studied at the University of Vienna. He currently lives in New York and is responsible for overseeing a global team of specialists spanning the full scope of 20th and 21st Century art. Rotter's progressive approach to presenting extraordinary works of art to the market has yielded many of the most groundbreaking moments in auction history. Career highlights include the 2017 sale of Leonardo da Vinci's Salvator Mundi , which sold for $450 million, becoming the most expensive object ever sold at auction, and Jeff Koons' Rabbit from the Collection of SI Newhouse, which sold for $91.1 million and set a world auction record for a living artist. Hosted on Acast. See acast.com/privacy for more information.

With the RCA's Vice Chancellor Dr. Paul Thompson and Chair of the Governing Body Sir Peter Bazalgette This week we're talking about the RCA's brand new £135 million Battersea campus. In a fascinating conversation with Dr. Paul Thompson and Sir Peter Bazalgette, they tell us how the new facilities can give future creative leaders the tools to learn to solve some of the most pressing global issues, from climate crisis and ageing populations to mobility, urbanism, inclusivity and ensuring AI remains a force for good. As Paul Thompson says, ‘We're trying to introduce some core fundamentals of science into the RCA art petri dish.' The new development comprises a large scale hangar, robotics centre and an intelligent mobility design centre as well as sculpture and contemporary art practice studios. RCA alumni include some of the world's most innovative designers from Jony Ive to James Dyson and Thomas Heatherwick, alongside artists including David Hockney, Henry Moore, Barbara Hepworth, Bridget Riley and Tracey Emin. Listen in to hear how the RCA is in a better position than ever on the global stage to produce the creative leaders our world needs.

The exhibition ‘Bridget Riley: Looking and Seeing, Doing and Making' at Zentrum Paul Klee in Bern (Switzerland) has its focus ...

Cataract 3 est une toile où il est question de lignes, d'ondulations. Ces dernières vont de gauches à droites ou de droites à gauches selon votre sens de lecture. Peu à peu, en descendant, les ondulations se décalent laissant alors apparaitre des diagonales, zones où, les vagues se resserrent entre elles. Tout cela relève d'une rigueur géométrique remarquable.

In this London 2022 Winter auction preview, we speak to Helen Newman at Sotheby's, who will tell us about their $60 million Magritte, half a dozen Monets, a Picasso and a Van Gogh. Katharine Arnold at Christie's will discuss their late Francis Bacon triptych, a portrait by Lucian Freud, as well as a Bridget Riley work held by the same family for 57 years. Giovanna Bertazzoni tells us about Christie's restituted Franz Marc painting and their surrealist Picasso. Finally, Cheyenne Westphal goes through the long list of breakout artists—like Lauren Quin, Doron Langberg, Jadé Fadojutimi, and Emily Mae Smith—at Phillips and others whose markets continue to roll on. But she also takes a moment to discuss a rare, unseen work of Sigmar Polke coming from the well-known collection of Emily and Jerry Spiegel.

Episode Notes A great look at the painting Find out more at https://three-minute-modernist.pinecast.co

Bridget Riley is one of today's most prominent artists, having made her name in the 1960s with black and white paintings that explored the dynamic effects of optical phenomena. This week Phil and Laura look at Uneasy Centre from 1963… and somehow manage to mention the rock band Black Sabbath!For more information and to see the artwork being discussed please visit www.seventh-art.com/podcast

What's up everyone! Welcome to That Broad's Got Moxie! Settle in, brag a cocktail and let's dish! This week, we chat about a woman who created mind-bending, eye boggling art and another who occupied Alcatraz to send a message about the injustices suffered by indigenous folks. These ladies are killing it!

With a prolific career spanning six decades, Bridget Riley moved from monochromatic 60s Cool Britannia to modern expressions of beautiful, blended colour. Her Op Art style is all at once mesmerizing and trippy, but it exudes an innate mathematical precision thanks to meticulous preparation and detail. Kunst Please is a micro-dose of modern art history. An exploration into the more unexpected side of modern and contemporary art, featuring stories of the famous and the infamous, the weird and the wonderful, the unheard, the cult, the criminally overlooked and the criminally insane. Created and produced by Jonathan Heath. Follow the gallery space on Instagram @kunstplease Check out show-notes and assorted ephemera at kunstpleasepod.medium.com/

This week, Wes and Todd talk with Abstract Maximalist Painter, Romelle. Romelle talks about her work, Michigan, art residencies, moving to Denver from Detroit, community, Babe Walls, what draws her to abstract work, Bridget Riley, process, her current exhibit “Supersonic Nonplace”, meditation, the conversation of painting, art and healing, murals, and collecting and connection. Romelle's exhibit, “Supersonic Nonplace”, is on display through June 26, 2021 at the BRDG Project in the Historic Zang Building, 1553 Platte Street, Unit 100, Denver, CO 80202Check out Romelle's website at www.r0melle.comFollow Romelle on social media:Instagram - www.instagram.com/R0MELLE/@r0melle Babe Walls 2021 Mural Festival happens July 15th – 18th along the Ralston Trail in Arvada, Colorado.For information about Babe Walls go to www.babewalls.comFollow Babe Walls on social media:Instagram - www.instagram.com/babewalls/@babewalls

Sheena Wagstaff leads the Met's commitment to modern and contemporary art, including the design of the international exhibition program at The Met Breuer (2016-20), artist commissions, and collection displays. She has also curated numerous shows at the Met, amongst which are Gerhard Richter: Painting After All (2020); Like Life: Sculpture, Color, and The Body (1300-Now) (2018); and Nasreen Mohamedi (2016), and oversaw the David Hockney exhibition (2017). Significant acquisitions have been brought into the collection under her leadership, including works by Pablo Bronstein, Cecily Brown, Phil Collins, Tacita Dean, Peter Doig, Nick Goss, Chantal Joffe, Hew Locke, Sarah Lucas, Adam McEwen, Steve McQueen, Lucy McKenzie, Cornelia Parker (who was also featured as The Met's 2016 Roof Garden Commission artist), Bridget Riley, Rachel Whiteread, as well as Vanessa Bell, Lucian Freud, Roger Fry, and Barbara Hepworth. A new Met Façade commission, and an exhibition, each by British artists, are planned in the coming years. With a curatorial team representing expertise from across the globe, she is building a distinctive collection for the Met, both culturally and geographically, to reflect the historic depth of its global collections. Before joining the Met, Wagstaff was Chief Curator of Tate Modern, London, where, for 11 years, she was responsible for initiating the exhibition program, the Turbine Hall artist commissions, and contributing to the conceptual framework of collection displays. With the Tate Director, she worked with architects Herzog & de Meuron on the design for the Tate Modern Switch House building. She curated noteworthy exhibitions such as Roy Lichtenstein; John Burke + Simon Norfolk: Photographs from the War in Afghanistan; Jeff Wall Photographs 1978-2004; Darren Almond: Night as Day; and Mona Hatoum: The Entire World as a Foreign Land. Over the course of her career, Wagstaff has worked for the Museum of Modern Art, Oxford; the Whitechapel Art Gallery, London; The Frick Art Museum, Pittsburgh; and Tate Britain, London, where she played a seminal role in its transformation from the former Tate Gallery. She is a member of the Foundation for the Preservation of Art in Embassies (FAPE), and from 2013-2019, she was a United States Nominating Committee Member for Praemium Imperiale. She has written and edited many publications, and lectured widely. Brought to you by the British Consulate General, New York. Follow us on Twitter and Instagram.

Talk Art exclusive! Russell & Robert meet legendary British artist Dame Rachel Whiteread DBE for an intimate studio visit where we view her new works prior to installing her new exhibition ‘Internal Objects’. In Rachel Whiteread’s sculptures and drawings, everyday settings, objects, and surfaces are transformed into ghostly replicas that are eerily familiar. Through casting, she frees her subject matter—from beds, tables, and boxes to water towers and entire houses—from practical use, suggesting a new permanence, imbued with memory. We discuss childhood, experimenting with numerous materials as a student, the joy of sharpening pencils, studying with Richard Wilson, her now iconic artworks 'House' (1993) and 'Ghost' (1990), further early works made by casting a wardrobe and household furniture and her large permanent Holocaust Memorial (2000) in Vienna's Judenplatz. We learn about her ‘Shy Sculpture‘ series installed in unexpected international locations and hear of her experiences during the YBA years, and subsequently being the first woman to win the Turner Prize in 1993.We explore the new works made during lockdown including two large cabin-like structures 'Poltergeist' (2020) and 'Döppelganger' (2020–21) which now form the central part of a new exhibition at Gagosian’s Grosvenor Hill gallery, made of found wood and metal, meticulously overpainted in white household paint. The exhibition also features a new body of sculptures in resin and new works on paper, as well as recent cast sculptures in bronze, similar to works in bronze Whiteread made in 2000–10, and exhibited at a major retrospective at Tate Britain in 2017. Finally, we discover her interest in cinema, admiration for Italian Renaissance painter Piero della Francesca and living with contemporary artworks by Bridget Riley, Christopher Wool, Kiki Smith and Rebecca Warren and why Kenwood House in North London is worth a visit! Rachel Whiteread’s new solo show ‘Internal Objects’ opened this week at Gagosian in London and runs until 6th June 2021. Follow @RachelWhitereadOfficial and @Gagosian on Instagram. View exhibition views at Gagosian's website: https://gagosian.com/exhibitions/2021/rachel-whiteread-internal-objects/ A fully illustrated catalogue, including a short story by John Steinbeck and an essay by Richard Calvocoressi, will be published to accompany the exhibition.For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

Short documentaries and adventures in sound about artworks and artists, presented by Josie Long. From an audio re-imagining of Bridget Riley to the work of a courtroom sketch artist. The Mandjet A response to Shih-Li by Bridget Riley Produced by Sami El-Enany Adipositivity Project Feat.uring Substantia Jones Produced by Ellie Lightfoot with sound design by Miles Mercer Drawing From The Gallery Featuring Priscilla Coleman Produced by Ben Tulloh and Hunter Charlton A Model Life Featuring Sue Tilley Produced by Alan Hall This interview was originally broadcast as part of the documentary Art Values in BBC Radio 3's Between the Ears Curatorial team: Andrea Rangecroft Series Producer: Eleanor McDowall A Falling Tree production for BBC Radio 4

Negli anni '60 il termine "Op-Art" cattura l'immaginazione del grande pubblico, diventando parte degli "swinging anni sessanta" L'articolo Bridget Riley | ArteDONNA | ArteCONCAS proviene da Andrea Concas - Il mondo dell’arte che nessuno ti ha mai raccontato.

Negli anni '60 il termine "Op-Art" cattura l'immaginazione del grande pubblico, diventando parte degli "swinging anni sessanta" L'articolo Bridget Riley | ArteDONNA | ArteCONCAS proviene da Andrea Concas - Il mondo dell’arte che nessuno ti ha mai raccontato.

DRAF Broadcasts: Podcast with Laura SmithHaving worked as a Curator at Tate St Ives for many years before moving to Whitechapel Gallery, Laura Smith has a good understanding of the benefits of building relationships with local audiences. Her curatorial approach is one that foregrounds good social relations between everyone involved in making, hanging and experiencing an exhibition. Collaboration and shared experience are important to her, as it is through creating this sense of community and trust that you can really challenge audiences (from 8:33). As Smith states; "If we can care for each other, it makes the making of that exhibition a positive experience for everybody with vital and beneficial conversations, rather than a stressful encounter" (28:32).David Roberts Art Foundation works with the David Roberts Collection, currently through collaboration and partnerships with institutions around the UK. In part, it was due to Whitechapel Gallery having a ten year history of hosting external collections, ranging from public, private, to corporate, and Smith’s experience of working with the Tate Collection that led to her being invited on this podcast. She discusses various approaches to working with collections, including how it can open up research, the importance of bringing works that don’t usually get shown into the public focus, commissioning short stories in response to a collection's narrative or working with guest selectors (from 20:48).  BIOLaura Smith was appointed Curator of Whitechapel Gallery in February 2018, where, among others, she has worked on the first UK survey show for Elmgreen & Dragset and with Helen Cammock, who won the 2017-19 Max Mara Art Prize for Women and was a co-winner of the 2019 Turner Prize. Prior to the Whitechapel Gallery, Laura was Curator at Tate St Ives, where she was responsible for a series of international historic and contemporary projects by artists including Rebecca Warren, Jessica Warboys, Linder, Marlow Moss, R.H. Quaytman, Bridget Riley, Lucy Stein, Nashashibi/Skaer, as well as group exhibitions such as Virginia Woolf: An Exhibition Inspired by Her Writings (2018), Turner Prize 2016 (2016) and Images Moving Out onto Space (2015). Laura writes extensively on modern and contemporary art. Most recently she has contributed a chapter to Oxford University Press' Virginia Woolf Reader on Woolf's influence on the visual arts, an essay on Lisa Brice to accompany her solo exhibition at Stephen Friedman Gallery, and a forthcoming monograph on Eileen Agar - soon to be published by Eiderdown Books. Want to hear more? Be sure to give Episode 2 of the DRAF Broadcasts: Podcast  as listen, where Joe Hill, Director of Towner Eastbourne, has been invited to talk about approaches to working with a collection, and turning the museum into a more social space. Have questions, comments or want to see more of what DRAF does? Reach us via davidrobertsartfoundation.com, @draf_art and subscribe to our newsletter! 

Russell and Robert meet Edward Enninful OBE, editor-in-chief of British Vogue. Over the past two and a half years as editor-in-chief of the famed publication, he has helped shape a new vision for fashion media — not just in the UK, but globally — where he has placed a “diversity of perspective” at its core.Enninful has described his vision for British Vogue as “about being inclusive. It’s not just the colour of your skin but the diversity of perspective.” He has made art a priority including interviews and features with artists as varied as Lubaina Himid, Steve McQueen (who is Vogue's Contributing Editor), Luchita Hurtado, Celia Hempton, Anthea Hamilton, Lorna Simpson, Mark Bradford, Nathaniel Mary Quinn, Frank Bowling, Lynette Yiadom-Boakye, Howardena Pindell, Bridget Riley, Toyin Ojih Odutola, Rosalind Nashashibi, Maggi Hambling, Huguette Caland, Tracey Emin, Grayson Perry and Rachel Whiteread. He has also profiled curators and museum directors such as Zoé Whitley (Chisenhale), Maria Balshaw (Tate) as well as writer Zadie Smith and photographers including Nadine Ijewere, Tyler Mitchell and Campbell Addy. In 2019, Enninful presented the Turner Prize, in an historic year where all four nominees won the prize.Ghanaian-born Enninful began his career as fashion director of British youth culture magazine i-D at age 18, the youngest ever to have been named an editor at a major international fashion title. After moving to London with his parents and six siblings at a young age, Enninful was scouted as a model on the train at 16 and briefly modelled for Arena and i-D magazines including being shot by artist Wolfgang Tillmans.Inspired by London’s club scene in the 1980s, Enninful’s work during this period captured the frenetic energy and creative zeitgeist of the time. It was also during this time that he befriended many of his future fashion collaborators, including Steven Meisel, David Smins, Pat McGrath, Craig McDean, Mario Sorrenti, Kate Moss and Naomi Campbell. For British Vogue, Enninful ’s covers have consistently featured strong women who promote messages of empowerment: Stella Tennant, Oprah Winfrey, Adwoa Aboah, Naomi Campbell, Rihanna, not to mention his September 2019 edition guest-edited by Meghan Markle HRH Duchess of Sussex, which featured 15 trailblazing female changemakers including Greta Thunberg and Jane Fonda on the cover.Enninful was awarded an OBE for his services to diversity in the fashion industry, and in 2018 he received the Media Award in Honour of Eugenia Sheppard from the CFDA in recognition of his career-long contribution to the fashion industry.Follow @Edward_Enninful and @BritishVogue. For images of all artworks discussed in this episode visit @TalkArt. We've just joined Twitter too @TalkArtPodcast. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. We love to hear your feedback!!!! Thank you for listening to Talk Art, we will be back very soon. See acast.com/privacy for privacy and opt-out information.

“They do work with… computers... and... shapes? They have a nice apartment.” How many sentences does it take for you to explain your job? Ivaylo Getov of Dandelion + Burdock and Kawandeep Virdee join us to talk about how they navigate their careers and the titles that go with it. RESOURCES: Ivaylo Getov: http://ivaylogetov.com/ D+B: https://dandelion-burdock.com/ Kawandeep Virdee: http://whichlight.com/ Medium: https://medium.com/ Kawan references Bridget Riley: https://en.wikipedia.org/wiki/Bridget_Riley Host: Natalie Sun Produced by: NextArt Sound & Editing: Bryan Chen Website: http://nextart.tech Twitter: http://twitter.com/nextarttech Instagram: http://instagram.com/nextarttech Questions? Suggestions? Thoughts? E-mail us at info@nextart.tech

In this episode, Dr. Lisa and Tom Gleason introduce listeners to Bridget Riley of The Pampered Spirit Wellness Center. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

It’s the start of the year and Simon and Jo are back with Little Women, Op Art and Star Wars! Jump in for a chat and a plan for your next weekend ahead in London. You can contact us on email at hello@culturefly.co.uk or via Twitter @screeninsight and @jogudgeon30 Subscribe to the Culturefly on the Wall podcast via iTunes 00:00 – […]

It's December, nearly the end of the year and we're in a reflective mood. We take a moment to think of what art we'd like to unwrap on Christmas Day, and ponder our New Year art resolutions. Back to 2019, our gallery visits took us to Bridget Riley at the Hayward Gallery, the Photographic Portrait Prize at the National Portrait Gallery, and the End of Year show at The Royal Drawing School.It's been a big month of news for the art world, what with the Turner Prize nominees sharing the final prize, which of course we had to discuss. And one of the artists we've previously mentioned, Tal R, has been to court to try and stop his artwork being cut up to make watches. Yes we know, it's a bonkers story. And, Liz wouldn't let us finish the year without discussing ‘unseen' artist Eric Tucker. We all need some feel good stories after all!Our Artist Focus this episode is French-American artist Louise Bourgeois. Jessie enjoyed a 1989 feisty video interview with the artist and Tate Modern Director, Frances Morris, and we're struck by the multiple similarities between Bourgeois and Yayoi Kusama. Finally, a big MERRY CHRISTMAS to our listeners, and remember to look out for us once more before the end of the year: we have a Christmas Special podcast that comes out on 23rd December, where we sit down with fellow podcasters: Art Proof, Delphian and Mizog. It'll be a Christmas Mash Up!SHOW NOTESMollie Barnes: @mollieebarnes Art Proof podcast: @artproofpodcast Delphian podcast: @delphiangalleryMizog podcast: @mizogartBridget Riley at the Hayward Gallery, until 26 January 2020: https://www.southbankcentre.co.uk/whats-on/exhibitions/hayward-gallery-art/bridget-riley Olafur Eliasson ‘In Real Life' at Tate Modern, until 5 January 2020: https://www.tate.org.uk/whats-on/tate-modern/exhibition/olafur-eliasson Delphian Gallery x Guts Gallery: https://delphiangallery.com/portfolio/delphian-x-guts/ Richard Woods ‘Door and Window Paintings' at Albion Barn, by appointment only: http://www.albionbarn.com/currentexhibitions.php Taylor Wessing Photographic Portrait Prize at the National Portrait Gallery until 6 February 2020: https://www.npg.org.uk/whatson/taylor-wessing-photographic-portrait-prize-2019/exhibition/ Snezhana von Buedingen: @snezhana_von_buedingen End of Year Exhibition at the Royal Drawing School, until 15 January 2020: https://www.royaldrawingschool.org/exhibitions/drawing-year-2019-end-year-exhibition-gallery/ Turner prize awarded four ways after artists' plea to the judges: https://www.theguardian.com/artanddesign/2019/dec/03/turner-prize-2019-lawrence-abu-hamdan-helen-cammock-oscar-murillo-and-tai-shani-shared Are award winners and losers going out of fashion? https://www.bbc.co.uk/news/entertainment-arts-50651827 Danish artist seeks to stop his work being cut up to make watches: https://www.theguardian.com/world/2019/dec/02/danish-artist-tal-r-paris-chic-watches Eric Tucker: exhibition fulfils ‘unseen' artist's final wish: https://www.bbc.co.uk/news/entertainment-arts-50500885 Louise Bourgeois Tate Shot: https://www.tate.org.uk/art/artists/louise-bourgeois-2351/louise-bourgeois-transform-hate-love Louise Bourgeois and Pablo Picasso ‘Anatomies of Desire' at Hauser and Wirth: https://www.hauserwirth.com/hauser-wirth-exhibitions/24525-louise-bourgeois-pablo-picasso-anatomies-desire ‘This Be The Verse' by Philip Larkin: https://www.poetryfoundation.org/poems/48419/this-be-the-verse

Episode 2: Bridget Riley at The Hayward Gallery discussed by Vikki Kosmalska and Caz Murray on until the 26th of January. This episode we take on Op Art heavy weight Bridget Riley, best known for her meticulous geometric paintings where things are not what they seem. This exhibition somewhat divided opinion in team Artcast - are her paintings simply optical illusions that hurt your eyes or is there a deeper meaning in her work? Listen to us debate our different reactions and don't worry, unlike the current political climate we are in, we keep it civil! For Art News, we cover the recent announcement about the extensive refurbishment of The National Portrait Gallery and the potential impact of it's upcoming 3 year closure.   Thank you so much for listening, if you like what you hear, please rate, review and subscribe!The Artcast love getting a bit of correspondence, so if you have any feedback or want to ask a question for the “Ask the Artcast' feature, get in touch as helloartcast@gmail.com. DM of follow us on Instagram: @theartcastThank you, as always, to the incredible Nat Witts for our jingle, and to the brilliant Jonny Lennard for our editing. 

We explore the life and career of British artist Bridget Riley as a new retrospective of her work opens at London's Hayward Gallery. She found fame in the sixties with a series of challenging black and white abstract works. Now in her eighties, she's still producing new work - perhaps even her best, according to some critics. Producer: Smita Patel Researcher: May Cameron

David Attenborough's new documentary series Seven Worlds, One Planet has been four years in the making, we speak to Bertie Gregory, a wildlife cameraman who was at the heart of the show. The new retrospective of the work of the pioneering artist Bridget Riley at the Hayward Gallery in London features over 200 works spanning her 70-year career. Louisa Buck reviews the exhibition that features Riley’s famous black-and-white works of the 1960s to her more recent works as she continues to play with abstraction and perception. The Forward Prize for Best Poetry Collection 2019 has been awarded to Fiona Benson for her collection Vertigo & Ghost. She explains why Zeus and his relations with mortals and nymphs is at the heart of the poems. Drill artist Rico Racks has been banned from using drug slang in his music after being convicted for supplying class A drugs. The list of words include “trapping” meaning “dealing” and “connect” - a drugs contact. Journalist and youth worker Ciaran Thapar reports. Presenter : Samira Ahmed Producer : Dymphna Flynn

Brigitte Schwacke und Katharina Gaenssler: "Stereo". Bis 25. Oktober in der Akademie der Schönen Künste in München / "Bridget Riley. Prints". Bis 17. Oktober im Kulturspeicher Würzburg / Simone ten Hompel und Alessandra Pizzini: "Dinge erzählen". Bis 12. Oktober im Bayerischen Kunstgewerbeverein in München.

Got them back to school blues? Not us, we love September and we've got some tasty art treats to placate you with this autumn: Lee Krasner at the Barbican, Olafur Eliasson at the Tate Modern, and the BP Portrait Award. We then get into the nitty gritty of who is Super-Curator HUO (Hans Ulrich Obrist) and his insane work ethic and distaste for sleep. We ponder if creatives are now expected to be working to such extreme levels of productivity, and what do we lose because of this? Our September artist focus is the queen of the line, Bridget Riley. Now in her 88th year, this British artist hasn't stopped teasing our optic nerves since the 1960s. Ahead of a major retrospective exhibition coming to the Hayward Gallery this autumn, we've taken a moment to reflect on her epic career. SHOW NOTESLee Krasner at the Barbican (sadly now closed): https://www.barbican.org.uk/whats-on/2019/event/lee-krasner-living-colour Olafur Eliasson 'In Real Life' until 5 January 2020 at the Tate Modern: https://www.tate.org.uk/whats-on/tate-modern/exhibition/olafur-eliasson Will Gompertz's review of 'In Real Life': https://www.bbc.co.uk/news/entertainment-arts-48965313 Olafur Eliasson and Minik Rosing 'Ice Watch': https://www.tate.org.uk/whats-on/tate-modern/exhibition/olafur-eliasson-and-minik-rosing-ice-watchVisit the Art Newspaper podcast episode on 26 July 2019 that includes an interview with Eliasson. Instagram recommendations: @campbell.hectorSky Ladder: The Art of Cai Guo-qiang: https://www.netflix.com/title/80097472 Bauhaus 100: https://www.bbc.co.uk/programmes/m0007trf Bauhaus Rules with Vic Reeves: https://www.bbc.co.uk/programmes/m0007tqs 'Curationism: How Curating Took Over the Art World and Everything Else' by David Balzer: https://www.amazon.co.uk/Curationism-Curating-Took-World-Everything/dp/0745335977Hans Ulrich Obrist's morning ritual on Nowness: https://www.nowness.com/story/hans-ulrich-obrist-morning-ritual and via the Guardian: https://www.theguardian.com/culture/2016/aug/28/hans-ulrich-obrist-tastemakers-maria-balshaw-fabien-riggall-inspirations BP Portrait Award until 20 October 2019 at the National Portrait Gallery: https://www.npg.org.uk/whatson/bp-portrait-award-2019/exhibition/Vanessa Garwood: http://www.vanessagarwood.com/about/ 'Messengers' by Bridget Riley at the National Gallery: https://www.nationalgallery.org.uk/whats-on/messengers-by-bridget-riley-a-new-work-at-the-national-galleryBridget Riley's exhibition coming to Hayward Gallery 23 October 2019 - 26 January 2020: https://www.southbankcentre.co.uk/whats-on/exhibitions/hayward-gallery-art/bridget-rileyBridget Riley: Learning from Seurat: https://courtauld.ac.uk/gallery/what-on/exhibitions-displays/archive/bridget-riley-learning-from-seurat London Sinfonietta are commissioning a piece of music inspired by Bridget Riley: https://www.londonsinfonietta.org.uk/homage-bridget-riley A Financial Times interview with Riley: https://www.ft.com/content/aac6af02-deb4-11e8-b173-ebef6ab1374a

Live from the Soho Theatre in London, Greg bashes beards, British Airways and Bridget Riley.

We're at the Edinburgh Festivals, including the Pet Shop Boys/Jonathan Harvey musical starring Frances Barber: Musik. Also the stage adaptation of Kate Grenville's best-selling novel about the collision between settlers and Indigenous Australians, The Secret River. As well as the Bridget Riley retrospective at The National Gallery of Scotland and Blinded By The Light - the film of Safraz Mansoor's story about growing up in Luton and his love for the music of Bruce Springsteen. Also we find out what wonders members of our audience have come across. Tom Sutcliffe's guests Denise Mina, Louise Welsh and Don Paterson. The producer is Oliver Jones Audience recommendations: Samson Young at talbot Rice Gallery, Twice Over at Greenside, Bystanders at Summerhall, Something About Simon at Assembly George Square, The Edinburgh Night Walk at The Fruitmarket Gallery , Scottish Ballet's The Crucuble PodcastExtra recommendations: Denise -My Favourite Murder podcast Don - Succession Louise - Robert McFarlane's Underland Tom -Documentary Now. And Crocodile Fever at The Traverse. And Peter Gynt at The Festival Theatre also Cora Bissett - What Girls Are Made Of at The Assembly Hall

We talk quite often about the importance of routine, and how by having a routine, we actually set ourselves free, especially our minds. And it is in that vein that Mason Curry shares his two books Daily Rituals. His second is focused entirely on Women at Work, sharing the routines and preferences of creative women who lived and created over the past four centuries. I thoroughly enjoyed his second book, even more than the first which I also found great inspiration. It was refreshing to see so many women living their lives in a variety of different ways, but all in which they discovered worked well for them and the craft they most loved. Not all of the ideas resonated with me, but it was wonderful to get into the minds for a moment of these women and how they approached their days. I highlighted vigorously from beginning to end, and would like to share 34 daily routines to consider to enable your creative ideas to flow freely and without withdrawal. Some will speak to you, some will not, but each one is inspired by a woman's routine which is shared in the book: Daily Rituals: Woman at Work - 143 artists on how they paint, write, perform, direct, choreograph, design, sclpt, compose, dance, etc. ~Be sure to tune into the audio version of the podcast where much more discussion takes place on each point.  1.Begin with a hot glass of lemon water Designer Elsa Schiaparelli woke up at 8 am, sipped lemon-juice-and-water and a cup of tea for breakfast as she read the papers, handled private correspondence, made telephone calls and gave the menus of the day to the cook. 2. Wake up early if that is when your creativity is most fruitful —Lillian Hellman would wake up at 6am. —Marie Bashkirtseff would wake up at 6am —Maggie Hambling wakes up at 5am each morning "I get up between three or four o'clock in the morning, because that's my best writing time." —Octavia Butler 3. If spending less time with people fuels your creativity, embrace it fully "I enjoy people best if I can be alone much of the time. I used to worry about it because my family worried about it. And I finally realized: This is the way I am. That's that." —Octavia Butler in 1998 4. If traditional "holidays" don't work for you, create your own, or dive into what you love. Coco Chanel worked six days a week, and dreaded Sundays and holidays. As she told one confidant, "That word, 'vacation,' makes me sweat." 5. Greet the day in a habitual way that sets the tone for a great day 6. Live your ideas, don't talk about them "People would sit around and talk about things constantly. I never really went in for that. If you talk something out, you will never do it. You can spend every evening talking with your friends and colleagues about your dreams, but they will remain just that —dreams." —choreographer Martha Graham 7. Keep a small journal next to your bed to capture ideas "I always have notebook and pencil on the table at my bedside. I may wake up in the middle of the night with something I want to put down." —American poet Edna St. Vincent Millay 8. If you work at home, carve out a part of the day to get out of the house and just absorb inspiration or let go of the day completely  "In the nocturnal evening, I get the hell out to some movie or damn play and I come back and sleep like a rock." —Frida Kahlo 9. Figure out the ingredients that are needed to let the ideas find you To develop a new work of choreography, Agnes de Mille needed 'a pot of tea, walking space, privacy and an idea'. 10. Don't feel obligated to keep the same schedule when you are in the middle of creating your art or craft Margaret Bourke-White required long periods of solitude to write, with as few interruptions as possible." In an interview with a Life photographer Nina Leen, Leen remembers after asking her if she would have lunch with her, "She told me she was writing a book and there was no hope of a lunch for several years. 11. Don't feel bad for loving your work and working on what you love beyond the traditional work hours. "Everything seems petty and uninteresting, everything except my work . . . ". Russian-born painter and sculptor Marie Bashkirtseff 12. Do something during the day that is relaxing and keeps you present 'I relax before lunch by arranging flowers . . . When these are all beautifully arranged in bowls and vases, it's usually lunch time." —English actress Gertrude Lawrence 13. Have a studio or space of your own to create "The most important thing is to have a studio and establish and preserve its atmosphere." —Agnes Martin 14. If you love solitude, embrace it  "But it is, as Yeats said, a 'solitary sedentary trade.' And I did a lot of gardening and cooked my own food, and listened to music, and of course I would read. I was really very happy. I can live a solitary life for month at a time, and it does me good." —poet Katherine Anne Porter 15. Trust your intuition as to what works best for you "It's not right if it doesn't feel right." —English painter Bridget Riley 16. Find regular time to just read what you love Rachel Whiteread [English sculptor] would "at some point stop for lunch, and she'd often spend an hour of the day reading sitting in a comfortable chair away from her desk. 17. Establish a flexible routine to work with what you need Morning routine: "Zittel feeds her chickens, waters plants, and performs other outdoor chores before meditating, taking a shower, making breakfast and getting dressed. In the winter, Zittel's morning schedule reverses: She meditates, showers and eats breakfast first; then, once the sun has raised the outdoor temperature, she heads out on her hike and does chores. 'It's really all about establishing a flexible routine."Andrea Zittel, an American artist, in 2017 18. Don't quit trying to live the life you wish to live "It never occurred to me that I couldn't live the life I wanted to lead. It never occurred to me that I could be stopped . . . I had this very simple view: that the reason people who start out with ideals or aspirations don't do what they dream of doing when they're young is because they quit. I thought, well, I won't quit." —Susan Sontag 19. Try a crossword puzzle like Joan Mitchell 20. Determine what view in your studio/sanctuary/work space is most productive for inspiration "Where do I write? In a Morris chair beside the window, where I can see a few trees and a patch of sky, more or less blue." —Kate Chopin, American writer 21. End the day with a signal to your mind to relax "During the performance I drink water with breadcrumbs, which is most refeshing. After the ballet I have a bath as soon as possible. Then I go out to dinner, as by that time I have an unmerciful hunger. When I get home I drink tea." —Russian prima ballerina Anna Pavlova 22. Let baths be your creative muse "Baths also played a part in her creative process - a post-breakfast bath enjoyed regularly by Virginia Woolf. 23. Let lunch be a true mid-day break At 1:00 p.m., Hambling has lunch, takes her Tibetan terrier, Lux, for a walk, and switches on the television to satisfy her tennis addiction. 24. Write when inspiration hits - even if it is in bed in the morning so as not lose the ideas.  25. Go outside and breathe in the fresh air "Fresh air and cold water are my stimulants." —Harriet Martineau - the first female sociologist 26. Enjoy someone's company for tea, lunch or a walk regularly  Emily Post would regularly welcome a guest or two for tea in the afternoon. 27. It's okay for your personal time to be less than what others feel is acceptable  "It seems to me you have to have your personal life organized so that it takes as little of your time as possible. Otherwise you can't make your art." –Eleanor Antin 28. Don't expect the routine to come naturally, create one and stick with it as it enables you to flourish 29. Cook and walk "The only other essential component of her day is a twice-daily walk with her dog, during which she avoids thinking about her writing project. In the evening, she makes herself a simple dinner and goes to bed at 10:00 or 11:00 p.m.." —Isabel Allende 30. Create space for your ideas to be seen  "Open a gap for them, create a space. Be patient." — Hilary Mantel "I think the way to become inspired is to empty your mind and let things come into your mind."  —Joan Jonas 31. Do you and don't apologize "I live here as in Paris. I rise every day at 5 o'clock; I drink my two large glasses of hot water; I take my coffee; I write when I am alone, which is rare; I do my hair in company; I dine every day with the king, chez lui, or with him and les seigneurs. I make calls after dinner; I go to the theater; I return to my place at ten o'clock; I drink my hot water , and I go to bed." —Marie-Thérèse Rodet Geoffrin, a major salonniéres of the French Englightenment 32. Turn on music paired with your favorite drink to start the day "I wake about nine, turn on the symphony and have juice, fruit and a pot of black coffee . . . " —Grace Hartigan, American painter 33. Leave evenings open for your social engagements "In the evening, she would see a friend for dinner or attend another social engagement. But the real key to this perfect writing day, she said, was to know that the following day would be exactly the same." —Eudora Welty 34. Be patient until you find what works, then cherish it "Trial and error, and then when you've found your needs, what feeds you, what is your instinctive rhythm and routine, then cherish it." —novelist Doris Lessing ~SIMILAR POSTS/EPISODES YOU MIGHT ENJOY: ~Why Not . . . Be Creative? ~The Benefit of Daily Rituals ~The Importance of a Daily Routine & How to Create One You Love, episode #164 Petit Plaisir: ~Chilled Cucumber and Yogurt Soup with Dill and Fresh Mint, a Patricia Wells recipe, click here for the recipe ~Why Not . . . Grow a(n) Herb Garden? ~Check out TSLL's IG account, see the Highlights and Part 3 of my FR Trip '18 - mid-roll to see the presentation of the dish in Provence. ~Chilled Cucumber and Yogurt Soup with Dill and Fresh Mint, enjoyed in Provence with Patricia Wells and the other cooking class students during the summer of 2018~ ~the same dish served this past weekend as the second course during a dinner party at my home. Cool and crisp cucumber and yogurt soup.~

M. Night Shyamalan discusses his new film, Glass, the third in his comic book trilogy with Unbreakable and Split. It stars Samuel L Jackson, Bruce Willis and James McAvoy. The Sixth Sense director reveals how he storyboards every single shot, how he uses colour to denote character and why it's so important for him to root his supernatural storylines in the real world.D. H. Lawrence is famous for his novels - The Rainbow, Sons and Lovers, Women in Love and, notoriously, Lady Chatterley's Lover. His poetry is admired and he is even known as a painter. But he also, early in his career, wrote several plays. They didn't enjoy much success in his lifetime - The Daughter-in-Law, which Richard Eyre hails as his masterpiece, wasn't performed until 1967, but there have been a number of productions in recent years. As an acclaimed staging of The Daughter-in-Law returns to the Arcola Theatre, Samira Ahmed discusses the work of D. H. Lawrence, dramatist, with the play's director Jack Gamble and the Lawrence scholar Dr Catherine Brown.The abstract painter Bridget Riley has recently completed Messengers, a huge - 30 by 60 feet - work on the walls of the National Gallery's Annenberg Court. It is inspired by something the young John Constable wrote about clouds, but perhaps also alludes to the numerous angels, themselves harbingers, that appear in the skies of so many of the National Gallery's pictures. Bridget Riley explains how she arrived at the title and the critic Louisa Buck, on the spot, reviews the piece.Presenter: Samira Ahmend Producer: Julian May

Shape of Light: 100 Years of Photography and Abstract Art, a new exhibition at Tate Modern, explores the intertwined stories of the two art forms from the early photographic experiments to the digital innovations of the 21st century. The two curators discuss the relationship between artists, including Jackson Pollock, Georges Braque and Bridget Riley, and photographers, including Man Ray and Edward Weston.Stephen Deuchar, chair of the judging panel for the Art Fund Museum of the Year prize, reveals the shortlist for this year's award. Oh My God, What a Complete Aisling was the bestselling novel of 2017 in Ireland, beating David Walliams to the coveted Christmas number one slot. The main character, Aisling, started life as a fake Facebook account created by two friends, Emer McLysaght and Sarah Breen. They discuss bringing their surprise hit novel to the UK. The chief economist at the Bank of England has said that popular trends in streaming music can be as important indicators of upcoming consumer confidence as more traditional statistical methods. Can trends in happy or sad downloads really be a basis for fiscal strategy? The BBC's Economics Editor Kamal Ahmed looks at the possibilities of the arts for economic forecasting.Presenter: Kirsty Lang Producer: Edwina Pitman.

Bridget Riley is known for her abstract geometric images featuring grids, lines, circles and squares. As the artist prepares to open a new exhibition of her recent work, art critic Charlotte Mullins assesses the importance and impact of the canvases and murals created in the last four years. As the Bayeux Tapestry is set to come to the UK from France we consider the extraordinary qualities of this artwork, the soft power of such cultural moves and the messages that might lie within Macron's gesture. Nick Park's new film is set aeons earlier than his Wallace and Gromit adventures. Dug, a resourceful cave-youth, and best friend Hognob, a prehistoric wild boar, unite their Stone Age tribe in defence of their green and pleasant land using not weapons but guile and football. Park explains how he came to make Early Man, the first feature the four-time Oscar winner has directed on his own, and Front Row asks if, actually, it's all about Brexit.David Lodge is both a leading comic novelist and a renowned literary critic. He talks about his memoir, Writer's Luck which covers the years 1976-1991 in which he found his greatest success with books like How Far Can You Go?, Small World and Nice Work . He was also Chair of Judges of the 1989 Booker Prize when to his disappointment Martin Amis failed to be shortlisted.

Bridget Riley (artist, London) & Michael Bracewell (writer, novelist & curator, London) in conversation at Frieze London 2010

Episode Content:Communications professional with 4+ years of experience in China and a 10-year-long passion for journalism, writing and editing.Hello Everybody, this is episode #36 and today we have Bridget Riley with us as a guest. Bridget is not the classic entrepreneur guest of ours but it was still super interesting for us having an interview with her because she is the magazine editor of AmCham (American chamber of commerce), so business in China is something that she breath and see in her everyday work, getting to know everybody. Bridget how are you?There are many Chamber of commerce around the world and countless of those in Beijing in particular. Can you first tell us what is AmCham and why someone would get in touch with you? I looked at your Linkedin page, seeing that San Francisco and Silicon Valley are also quite familiar to you. Wondering what’s your perspective on both startup eco systems. Why you decided that China is the place for you? What do you think is the sentiment towards China nowadays for American companies? Seems like it’s a love hate relationship. do you see any change while you work in AmCham? Do you see any change in the typ of companies coming? sector? Company size?Who are the type of people you are meeting during your work? Who is the most interesting person you’ve interviewed to the magazine?Censorship comes a lot on our interviews obviously . How do you deal with that? Do you need ot approve every publication?What’s the best way to get in touch with you? Episode Mentions:Amcham ChinaArticle of BridgetBusiness Climate Survey (which has all the data about American business feeling less welcome)Sylvia Pan interview"It's Anyone's Game" (story which includes the origin and success of the NBA in China)Bridget's LinkedinStartup noodle article on top tech events in ChinaCross border summitDownload and SubscribeDownload this episode: right click on this link and choose "save as"Subscribe to China Business Cast on iTunesOr check out the full list on subscription options Periscope Live broadcasting of the recordings follow @StartupNoodle (open link on mobile)

The 13th Baillie Gifford Oldie of the Year Awards was held at Simpsons-in-the-Strand on Tuesday 3rd February 2015. Our winners were Sir Roger Bannister (Long Distance Runner of the Year), Michael Buerk (Jungle Survivor of the Year), Lord Falconer (Slimmer of the Year), Ian Lavender (Stupid Boy of the Year) and Bridget Riley (Stripe Artist of the Year). Ken Dodd was announced as our Oldie of the Year 2015.

New Generation Thinker Daisy Hay talks to Anne McElvoy about the relationship between Disraeli and his wife. Judith Rodin discusses cities and disaster planning with Ricky Burdett. Glass artist Brian Clarke outlines the role played by the art dealer Robert Fraser who showcased the work of emerging American and European artists from the 60s onwards. Fraser hosted avant garde art openings and supported artists including Jean Michel Basquiat, Gilbert and George, Bridget Riley and Eduardo Paolozzi.

Actor Daniel Radcliffe discusses his newest stage role and his career choices post-Harry Potter. Playwright Conor McPherson talks to Mark Lawson about the experiences that have informed his writing. Lenny Henry discusses his return to the stage to star in the Pulitzer prize-winning play Fences by American playwright August Wilson. Director Tina Gharavi on her debut film I Am Nasrine, which follows a teenage refugee from Iran. Neil Hannon and musician Thomas Walsh discuss their second cricket-inspired album, Sticky Wickets. Artist Rachel Whiteread makes her selection for the Cultural Exchange - a painting by Bridget Riley, which she kept as a postcard. David Edgar's new play If Only imagines what will happen to the coalition in 2014 - he tells Mark Lawson what will happen to his play if life mirrors art.

With Mark Lawson Before Midnight is the last instalment in the acclaimed film trilogy that began with Before Sunset and continued with Before Sunrise. Jesse and Celine, who enjoyed brief encounters in Vienna and Paris, are now married with children, but as their summer holiday in Greece comes to an end, the light seems to be going out of their relationship. Antonia Quirke delivers her verdict on one of modern cinema's most famous and enduring couples, played by Julie Delpy and Ethan Hawke. Neil Hannon (frontman and founder of The Divine Comedy) and musician Thomas Walsh discuss their second cricket-inspired album Sticky Wickets, and the formation of their band The Duckworth Lewis Method. They also reveal how they arranged special guests including Daniel Radcliffe, Stephen Fry and Henry Blofeld. The Weir, a series of ghost stories told in an Irish pub, was a huge hit for playwright Conor McPherson over a decade ago. His latest play The Night Alive returns to the theme of how the past can haunt the present in unexpected ways. Conor McPherson talks to Mark about the experiences that have informed his writing. Artist Rachel Whiteread makes her selection for the Cultural Exchange - a painting by Bridget Riley, which she kept as a postcard.

Turner Prize winning artist, Rachel Whiteread chooses a postcard of Fall by Bridget Riley.Plus archive interviews with Bridget Riley, Sir Anthony Caro and Michael Craig Martin.

 August 27, 2010 Solo Maybe light is the only thread through here, along with The Straphangers Art Ensemble, several interviews with several painters, especially Bridget Riley, poems and poets expound at length, David Moss on the functional purposes of art in society, and beyond irony in post-modern art. And no, I can't understand him either.  Callers to boot, but I can't get my foot in the phone. The post Over the Edge appeared first on KPFA.

Adrian Searle pays close attention to the 'funny, serious and inscrutable' works arranged by artist Richard Wentworth for a new show at London's Lisson Gallery, cleverly connecting disparate works by the likes of Bridget Riley, Tony Cragg and Donald Judd