Podcast appearances and mentions of Cornelia Parker

Screenwriter and playwright Abi Morgan has worked across a diverse array of themes and genres for more than 25 years. She wrote the television series The Split, a domestic drama involving divorce lawyers, and created the psychological Netflix series Eric. Her other television credits include Sex Traffic, for which she won a BAFTA for Best Drama serial in 2005, and The Hour, the television news drama which earned her an Emmy award in 2012. Her film credits include The Iron Lady, which starred Meryl Streep as Margaret Thatcher; historical drama Suffragette; and Shame, co-written with the director Steve McQueen. Her recent book This Is Not A Pity Memoir recounts her husband's recovery after serious illness, and her own treatment for cancer. Abi Morgan tells John Wilson about her childhood in a theatrical family; her father was the director Gareth Morgan and her mother is the actor Pat England. She chooses the author, screenwriter and director Nora Ephron as an important influence, and particularly the film Heartburn which Ephron adapted from her semi-autobiographical divorce novel Heartburn. Abi Morgan also recalls the work of television screenwriter Kay Mellor, whose series Band Of Gold and Playing The Field also influenced her own writing. She describes how seeing an exhibition of the work of artist Cornelia Parker, including her installation Cold Dark Matter: An Exploded View, inspired some of Abi's early theatre work including her plays Splendour and The Mistress Contract. Producer Edwina Pitman

I hope this quote from Cornelia Parker helps you live your life.   Join the FREE Facebook group for The Michael Brian Show at https://www.facebook.com/groups/themichaelbrianshow   Follow Mike on Facebook Instagram & Twitter

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

The Reytons' second album, What's Rock and Roll, debuted at No 1 in the charts - a rare feat for a band without a label. They discuss following it up with Ballad of a Bystander which features songs about pulling and politics.Phoebe Eclair-Powell on her Bruntwood Prize-winning play, Shed: Exploded View, which was inspired by the work of art Cornelia Parker created when she asked the British Army to blow up a garden shed, capturing the fragments in a frozen moment. The play centres on three couples whose conversations coincide, clash, and chime - the play opens at the Royal Exchange in Manchester this week.Poet Andrew McMillan on his debut novel, Pity, an exploration of masculinity and sexuality in a small South Yorkshire town.Presenter: Nick Ahad Producer: Ekene Akalawu

Artist Cornelia Parker is with the chef Jeremy Lee and presenter Harriett Gilbert, to pick their all-time favourite books. Cornelia chooses South by Sir Ernest Shackleton, the story of his extraordinary journey to Antarctica. Jeremy is a fan of the food writer Elizabeth David, and recommends her book of essays, Omlette and a Glass of Wine. Finally Harriett Gilbert suggests the novel Foreign Affairs by Alison Lurie, centred on two American academics' escapades in London. Cornelia has recently had solo shows at the Tate Britain and the Metropolitan Museum of New York; Jeremy is chef-proprietor of Quo Vadis restaurant in Soho and author of Cooking: Simply and Well, for One or Many. Comment on instagram: @agoodreadbbc Produced by Eliza Lomas for BBC Audio

 ‘Dear Earth' is the show at the Hayward Gallery on London's south Bank that represents a coming together of 15 global artists who are responding to the crisis our planet is facing.   We talk to Rachel Thomas, the chief curator and two of the artists exhibiting there, Ackroyd & Harvey.  Ackroyd & Harvey have contributed a series of portraits of environmental activists made from seedling grass. Rachel tells us about the other exhibits there, including the moving and enchanting film ‘The Future: Sixes and Sevens' by Cornelia Parker, depicting small children talking about their fears and hopes.  Other works include photographs and film of the devastated Kichwa Territory in Peru by Richard Mosse, John Gerrard's ‘Surrender', a digital installation of a flag which heralds visitors into the show, Jenny Kendler's large scale sculpture of birds' eyes – many of the birds are in danger of extinction or already extinct -  and the five-metre-high ‘Living Pyramid' at the show's heart by 93-year-old Agnes Denes. We also hear about the Hayward's beautiful roof garden created by Grounded Ecotherapy, set up to help recovering addicts, alcoholics and people with mental health problems.  The garden was commissioned 11 years ago and now contains 250 species of wild indigenous plant – more than any other roof terrace in the world.  It's a devastating but beautiful exhibition, conceived to convey hope, start conversations and explore solutions via the artists' lens.

One of Britain's most acclaimed visual artists, Cornelia Parker's sculptures challenge our sense of what an artwork can be. Both an eminent theoretical physicist and a bestselling author, Carlo Rovelli has not only advanced humanity's understanding of its place in the cosmos but made the revelations of physics intelligible to the rest of us, in books such as The Fabric of Reality, The Order of Time, and his latest, Helgoland, This episode of the podcast brings the two together with science filmmaker David Malone for a journey into the hidden depths of reality. Learn more about your ad choices. Visit megaphone.fm/adchoices

The latest episode of Making a Mark explores the graphic work of Cornelia Parker. Widely celebrated for her immersive installations that have become a significant part of Britain's cultural landscape, this episode explores the artist's printmaking, a medium that has been at the forefront of her practice for the past several years. Follow Parker and master printer Pete Kosowicz into the studio where they are making prints; find out how her works are made, her influences, the possibilities printmaking offers and the importance of collaboration to Parker's practice. Contributors include founder and gallery co-director, Alan Cristea; arts editor of the Financial Times, Jan Dalley; and photography curator and writer David Campany. Presented by writer and critic, Charlotte Mullins. Making a Mark is a podcast by Cristea Roberts Gallery exploring the relationship between artists and printmaking.⁠ Artworks discussed in the episode can be viewed online via https://cristearoberts.com/podcast/  Image: Cornelia Parker at Thumbprint Editions, London, 2022. Photo: Maxwell Anderson. #corneliaparker #printmaking #etching #photography #photogravure #resurrection #destruction #shadows #foundobjects #womanartist #womeninart #britishart 

A artista plástica Cristina Ataíde expõe desde os anos 80 e já fez residências artísticas na Amazônia, na Etiópia, em Marrocos, Cabo Verde, na Índia, entre muitos outros sítios. A viagem, diz, tanto pode ser à China como ao fundo da rua: “sair do atelier é já uma viagem”. Traz a natureza para o seu trabalho para “fazer com que o outro preste atenção”, e diz que “a função do artista é provocar emoções no público”. No podcast As Mulheres Não Existem, Carla Quevedo e Matilde Torres Pereira falam também da vida e obra da escultora britânica Cornelia Parker e da Bienal de Veneza mais feminina de sempre. Nas recomendações, destaque para a exposição de Parker na Tate Britain e para a filósofa Agnes Callard. See omnystudio.com/listener for privacy information.

Now time to find out more about the audio described tour of the Cornelia Parker exhibition at Tate Britain in London on Friday 24 June 2022 at 5.30pm lead by visually impaired artist Sally Booth. Cornelia Parker is one of Britain's best loved and most acclaimed contemporary artists. Always driven by curiosity, she reconfigures domestic objects to question our relationship with the world. Using transformation, playfulness and storytelling, she engages with important issues of our time, be it violence, ecology or human rights.  The exhibition of her work at Tate Britain brings together such iconic suspended works as Thirty Pieces of Silver 1988–9 and Cold Dark Matter: An Exploded View 1991; the immersive War Room 2015 and Magna Carta 2015, her monumental collective embroidery, as well as her films and a wealth of her innovative drawings, prints and photographs. Some works will spill out beyond the confines of the exhibition and infiltrate the permanent collection, in dialogue with the historical works they reference. RNIB Connect Radio's Toby Davey was joined by Nathan Ladd one of the Curators of the Cornelia Parker exhibition at Tate Britain to find out more about Cornelia and some of her iconic pieces that are on display in the exhibition at Tate Britain including Thirty Pieces of Silver, Cold Dark Matter and Nathan's must see work War Room. The Cornelia Parker exhibition continues at Tate Britain until 16 October 2022 and for more about the audio described tour on Friday 24 June 2022 at 5.30pm plus other accessible events and resources for blind and partially sighted people at Tate Britain do email hello@tate.org.uk or visit the Tate website - https://www.tate.org.uk/tatebritain (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

Melly Still on directing ‘The Wreckers', by Ethel Smyth, the first ever opera by a woman composer to be performed at the Glyndebourne Festival. Morgan Quaintance and Hettie Judah join us to review Emergency, the new film directed by Carey Williams and the Cornelia Parker exhibition at The Tate. Ivor Novello Awards: Sam Fender's track Seventeen Going Under, taken from his album of the same name, was today awarded the accolade of Best Song Musically and Lyrically at this year's Ivor Novello Awards. We step inside the anatomy of the song with singer, musician, composer and lyricist Joe Stilgoe as he talks us through its prize-winning qualities.

Cornelia Parker talks to Ben Luke about her influences, including artists, writers, film-makers, composers and musicians, and the cultural experiences that have shaped her life and work.Parker, born in 1956 in Crewe, Cheshire, north-west England, makes works ranging from dramatic room-filling installations to subtle, ephemeral objects— some of the most profound, witty and thought-provoking art of recent decades. Common to her work are acts of transformation, from the violent to the surreal and the whimsical. She takes found objects and substances and through hugely varied processes lends them new, often multilayered, meanings. She discusses her early love of J.M.W. Turner, and the work she eventually made linking Turner with Mark Rothko. She recalls wrapping Auguste Rodin's The Kiss with a mile of string, in a reference to Marcel Duchamp, and the controversy this intervention prompted in the press. She talks about the increasing concern with politics in her work, including two new works made for her Tate Britain retrospective opening in May 2022. And she answers the questions we ask all our guests, including those about the museum she visits the most, her daily studio rituals, and, ultimately, what art is for.Cornelia Parker, Tate Britain, London, 19 May-16 October See acast.com/privacy for privacy and opt-out information.

Taking the bus, the tube and the “normal train” is Turner Prize shortlisted visual artist Cornelia Parker, as she joins Jools and Jim for this week's Joyride.Jools praises the impact of Communist architecture on East London's transport infrastructure, and Jim and Cornelia refuse the hypothetical offer of a hot air balloon ride.The three discuss the joys of beetroot (and raw onion), while Cornelia recalls the lasting effects of her father's bad driving and a couple of near misses. Plus there's talk of Cat Weasel, steamrolling a trumpet, and buying a coffin in São Paulo…A Dig! Studios / Warner Music Entertainment podcast.Produced by Molly Stewart See acast.com/privacy for privacy and opt-out information.

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.

Limbo doesn’t mean you’re stuck, it just means you’re absorbing good shit. In this episode, Jill and Nick dive into their current life situation that feels a lot like LIMBO. They share why it feels so “in between'' and how they’re finding growth in the chaos. Pumped to hang out with ya’ll!  

For Episode 5 - Why Is A Picture's Worth A Thousand Words? - Visual Art & Activism, our host, Perry Serpa  discusses anxiety on the eve of the 2020 General Election before a stimulating conversation with internationally acclaimed artist/activist twosome Heather Ackroyd and Dan Harvey. Heather and Dan fill Perry in about their current thing, a reactive UK based initiative called Culture Declares Emergency formed in 2019 as a response to the global climate and ecological emergency. The initiative has, since its inception, found support with a wide range of artists and organizations, including Akram Khan, Cornelia Parker, Antony Gormley, Brian Eno, Tate Galleries, Bristol Old Vic, Royal Court Theatre, Somerset House amongst 1000+ and an offshoot initiative, Music Declares Emergency, found 'declarers' in Billie Eilish, Radiohead, The 1975 and many others. Then, for Hottest On Record, singer/songwriter/guitarist, Joe Sumner contributes a brand new track, "Hope," recently used for a successful get out the vote Headcount campaign in the form of a singalong chorus video featuring Ben Folds, Patti Scialfa, The Fantastic Negrito, Juliana Hatfield, Gaby Moreno, Joe Scarborough and Mika Brzezinski (MSNBC's Morning Joe) and Sumner's famous dad (Sting). The "Hope The Vote" chorus video enjoyed concurrent debuts on the aforementioned Morning Joe and Rolling Stone. You get to hear the full track on the Creative Climate Podcast, which will kick off Sumner's forthcoming album, "Sunshine In The Night," due out next year. In case you're wondering, Serpa's co-host, Kirsten Spruch is out on assignment for this one, whoopin' it up in Austin, Texas and trying to flip the state before Biden gets to it. She rejoins for Episode 6. 

In episode 39 of The Great Women Artists Podcast, Katy Hessel interviews the world-renowned British artist, CORNELIA PARKER !! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] And WOW! This was such an insight into one of Britain's foremost artists known for her inventive, poetic, and quietly provocative works in sculpture, photography, performance, prints, and large-scale, and often site-specific, installations. Working in a variety of mediums since the mid-1980s, Parker's art is about destruction, resurrection and reconfiguration. Demonstrating the importance of process, she frequently transforms objects by using seemingly violent techniques such as shooting, exploding, squashing, cutting and burning. And it is through these actions that she both physically alters the object, as well as becoming an active development of its story herself.  Having studied at Gloucestershire College of Art & Design and at Wolverhampton Polytechnic before receiving her MA in Fine Art from the University of Reading in 1982, Cornelia Parker has since gone on to capture audiences from around the world, shifting our idea of what art can be, and exploring every possible potential of materials. Shortlisted for the Turner Prize in 1997, made an OBE and a Royal Academician in 2010, as well as serving as the country’s Election Artist in 2017, Parker has exhibited all over the world, including the likes of the Metropolitan Museum in New York, London’s Hayward Gallery, Manchester’s Whitworth Gallery, Sydney’s Museum of Contemporary Art, as well as featuring in collections worldwide from the Tate, Royal Academy, Pompidou, and MoMA.  Further reading! https://www.tate.org.uk/art/artists/cornelia-parker-2358 https://cristearoberts.com/artists/25-cornelia-parker/ https://www.mca.com.au/artists-works/exhibitions/cornelia-parker/ https://www.royalacademy.org.uk/art-artists/name/cornelia-parker-ra ENJOY!!! This episode is sponsored by Alighieri https://alighieri.co.uk/ @alighieri_jewellery Use the code: TGWA for 10% off! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Amber Miller (@amber_m.iller) Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

It's a very NSFW one, pals! And also, it's got VALENCE S1E11 spoilers, so make sure you listen to that first! In this episode, I talk to Josh Rubino (Liam) and John Westover (Nico) about conveying "fuck energy." But also, we talk about modern art, control issues, and how people convey their trauma. Check out Cornelia Parker's "Mass (Colder Darker Matter)," the art piece discussed in this episode, here: The Phoenix Art Museum: https://phxart.org/arts/mass-colder-darker-matter-monton-materia-mas-oscura-mas-fria/ A video on another Cornelia Parker piece, just "Cold Dark Matter": https://www.youtube.com/watch?v=NrTvMxPl3xA&t=35s About Scoring Magic Scoring Magic is presented by Hug House Productions. You can support us for behind-the-scenes details and early previews of upcoming projects on Patreon. Support Scoring Magic by donating to the tip jar: https://tips.pinecast.com/jar/scoring-magic

Discussion Only. Artist Cornelia Parker will be in conversation with Psychoanalyst and Author, Darian Leader, discussing her art and its relation to the unconscious. They will talk about transitional objects, avoiding the object on purpose, memory, and violence as a metaphor. Nominated for the Turner Prize in 1997, Cornelia Parker became well known for her installations and interventions, including Cold Dark Matter: An Exploded View 1991 (Tate Modern) where she suspended the fragments of a garden shed, blown up for her by the British Army, and The Maybe, a collaboration with actress Tilda Swinton, at the Serpentine Gallery in 1995. She is currently working on the annual roof commission for the Metropolitan Museum, New York. She has works in the Tate Collection, MoMA and Met Museum NY and in numerous public and private collections in Europe and the USA. She was elected to the Royal Academy in 2009 and awarded an OBE 2010. She is represented by Frith Street Gallery, London. Darian Leader is a writer, psychoanalyst, trustee of the Freud Museum and founding member of the Centre for Freudian Analysis and Research. He has written numerous books, including Strictly Bipolar (2013), What is Madness? (2011), The New Black (2008) and Freud's Footnotes (2000).

Russell and Robert chat to Maria Balshaw CBE, Director of Tate, a family of four art galleries in London, Liverpool and Cornwall known as Tate Modern, Tate Britain, Tate Liverpool and Tate St Ives. Balshaw is Tate’s first female Director.We discuss the effect of the lockdown on Tate museums, filming guided tours for their website of the on-hold blockbuster Andy Warhol and Aubrey Beardsley exhibitions for the public to access during lockdown, the increased global usage of their website during the pandemic in particular as a resource for children's art education, her passion for gardening, the lasting influence of Derek Jarman (and his music videos for Pet Shop Boys), the great news that Jarman’s house ‘Prospect Cottage’ has been saved for the nation by Artfund’s campaign and some inspiring lessons learned from collaborating with artist Marina Abramović.We learn of Maria's admiration for Steve McQueen's artwork and his recent epic portrait of London’s Year 3 school pupils (exhibited at Tate Britain), her love of Cornelia Parker's installation 'Cold Dark Matter' (which she first saw at Chisenhale gallery in 1991) and her longterm commitment to redressing the imbalance of representation for women artists, artists of colour and queer artists in museum collections and exhibition programmes. Recently a number of watercolours by Emmeline Pankhurst’s daughter Sylvia Pankhurst, best remembered as an activist/campaigner for the UK Suffragette movement, became part of Tate Collection. Finally we reminisce about Anne Imhof's now legendary live performance series at Tate's Tanks in 2019.We explore her years working as Director of the Whitworth, University of Manchester and Manchester City Galleries, when she oversaw the £17 million transformation of the Whitworth, which was subsequently awarded the Art Fund Museum of the Year award for 2015. She was also Director of Culture for Manchester City Council from 2013-2017, played a leading role in establishing the city as a leading cultural centre for the UK. She is currently a Board Member of Arts Council England, the Clore Leadership Programme and Manchester International Festival. Maria was awarded a CBE in the Queen’s Birthday Honours for services to the arts in June 2015.Follow @MariaBalshaw on Instagram & @MBalshaw Twitter and @Tate on all social media platforms. Tate's website is: www.tate.org.uk For images of artworks discussed in this week's episode please visit @TalkArt and we are now on Twitter too @TalkArtPodcast. Thanks for listening! See acast.com/privacy for privacy and opt-out information.

British artist Cornelia Parker never does things by halves. Over the course of her career she's taken on big themes, big moments in history, and exploded them - sometimes quite literally. We also speak to Taiwanese-American artist Lee Mingwei and Australian photographer Sarah Pannell.

British artist Cornelia Parker never does things by halves. Over the course of her career she's taken on big themes, big moments in history, and exploded them - sometimes quite literally. We also speak to Taiwanese-American artist Lee Mingwei and Australian photographer Sarah Pannell.

British artist Cornelia Parker never does things by halves. Over the course of her career she's taken on big themes, big moments in history, and exploded them - sometimes quite literally. We also speak to Taiwanese-American artist Lee Mingwei and Australian photographer Sarah Pannell.

Kombucha? Purple food? Spirulina? Food trends might seem mostly fatuous, but do we need them? Tim Hayward identifies what’s hot now. And Gris meets the witty Cornelia Parker, destroyer of silver spoons, brass instruments and garden sheds. See acast.com/privacy for privacy and opt-out information.

Jill Townsley is an artist who works predominantly with sculpture, though her practice has expanded to include time-based media, especially time-lapse animation that documents her process or the temporality of her large sculptures. Her exhibitions may also include drawing and photography. She studied Sculpture at the Royal College of Art and has a practice-based PhD in Fine Art from Liverpool University, for which she received a Gladstone Fellowship from the University of Chester. Her work has been reviewed in the journal Artfractures and featured in a variety of newspapers and magazines such as: the Washington Post, New York Times, Korean Elle Magazine, AD magazine, Craft Magazine and the Independent. She has had work commissioned by the Towner Contemporary in Eastbourne, UK and by the architects' firm Gensler for the offices of Clifford Chance in Washington DC, USA. Highlighted exhibitions include a solo exhibition ‘TOIL' at Project 4 Gallery also in Washington DC and work included in ‘Second Lives – Remixing the Ordinary', at the Museum of Art and Design in New York, where she exhibited alongside Ai Weiwei, Cornelia Parker, Do-ho Suh et-al. She has exhibited widely in the UK and has had solo exhibitions at the Nunnery Gallery London, Huddersfield Art Gallery and Hatfield University Gallery. Jill was a finalist in the 5th international Arte Laguna Prize, exhibiting at the Venice Arsenale where she won the Juried Press Award. Jill is also a Senior Lecturer in Contemporary Art at the University of Huddersfield. Courtesy of JRC Summer School 2018 documentation.

We meet the 2017 Election Artist. Plus, what do new ivory regulations mean for the art world? See acast.com/privacy for privacy and opt-out information.

Mike Bartlett, the writer of Doctor Foster and Charles III, on his new three-part TV drama Trauma, in which Adrian Lester stars as a surgeon accused of negligence by a patient's father, played by John Simm. Last week a new prize was launched for thriller novels that do not include any violence against women. Since that announcement the Staunch Book Prize has been both lauded as much needed, and criticised for being censorial. We discuss the prize with its founder Bridget Lawless and crime-writer Val McDermid. Cornelia Parker was the official artist for the 2017 election. As her resulting work goes on display in the Palace of Westminster, she discusses her approach and the challenges she faced in maintaining impartiality.Presenter Samira Ahmed Producer Jerome Weatherald.

Marcel Duchamp, the father of conceptual art, and responsible for that famously provocative urinal signed 'R Mutt, 1917', is the great life choice of fellow artist Cornelia Parker. She explains to Matthew Parris why he's influenced not only her work but that of so many other artists since his death in 1968. As an art student in the 1970s she recalls the attraction of Duchamp's 'readymades', such as a bicycle wheel or suspended wine bottle rack - manufactured items that the artist selected and modified, antidotes to what he dismissed as conventional 'retinal art'. They are joined by Dawn Ades, Professor of the History of Art at the Royal Academy, who's curated the current RA exhibition on Duchamp and Dali. Dawn recalls an occasion when, whilst she didn't actually meet Duchamp, she once saw him completely absorbed in a game of chess in a café in the Spanish seaside town of Cadaqués, whilst visiting Salvador Dali. They also discuss Duchamp's intriguing female alter ego, Rrose Selavy (Eros, c'est la vie or "physical love is the life") Man Ray's photographs of whom featured in some Surrealist exhibitions. We hear how Duchamp let the world know that he'd given up being in artist in favour of devoting himself to chess whilst still in his 30s. He played the game at a high level, representing France at international tournaments, whilst covertly continuing his art work. Cornelia Parker explains that his works spoke not just to the Pop Art and Op Art movements of the 1960s, but more broadly to American artists like Bruce Nauman and the composer John Cage, and whose influence can be seen today in the work of, for example, fellow English artist, Rachel Whiteread. Producer: Mark Smalley.

Grayson Perry goes backwards in the archive in search of the moment the avant-garde died. It's a century since Marcel Duchamp submitted his artwork called Fountain to an exhibition staged by the Society of Independent Artists in New York. Fountain was a urinal -- not a painting of a urinal or a sculpture, just a urinal, bought from a Manhattan hardware store and signed R.Mutt. The Society of Independent Artists rejected Duchamp's provocation and the original object was lost. Nowadays Duchamp's urinal is canonised as the fountainhead of conceptual art and the high water (closet) mark of the avant garde. Replicas of the Fountain grace museums around the world - emblems of the avant-garde spirit of experimentation and confrontation. Somewhere in the intervening years though, something changed - contemporary art lost its ability to shock and critique. We're still hopelessly drawn to the idea of art that's 'cutting edge', 'ground-breaking', 'revolutionary'. But is that possible at this point -- haven't we seen it all before? Maybe the death knell was sounded when the Saatchi Gallery opened on the South Bank? Or with the advent of protest and radical chic in the 1960s? Maybe it was when the CIA funded the abstract expressionists? Or when the post-war art market began to reign supreme? Or when the Museum of Modern Art opened its doors in 1927? Or maybe it was all a matter of style the very moment Duchamp's Fountain was conceived? Featuring Brian Eno, Kenneth Goldsmith, Nnenna Okore, Cornelia Parker, and Sarah Thornton. Producer: Martin Williams.

To fully enjoy this podcast, we recommend listening while viewing the images Cornelia Parker presented alongside her talk: roy.ac/2uuXhFB Cornelia Parker, one of today’s most renowned artists, speaks candidly about what inspires her and her printmaking practice, in conversation with Jan Dalley, Arts Editor of The Financial Times. Cornelia Parker is well known for her large-scale, often site-specific, installations. Often there is an apocalyptic tone to her work, but Parker also demonstrates a concern with the more insidious effects of global warming and consumerism. Parker works in a variety of media and has collaborated with institutions such as HM Customs & Excise, Royal Armouries, Madame Tussauds and Victoria & Albert Museum. She was nominated for the Turner Prize in 1997 and appointed an Officer of the Order of the British Empire (OBE) in 2010.

Fearless Girl, a 130cm bronze statue of a young girl in New York's financial district, is at the centre of a fierce debate about public art, corporate power, and feminism. New York-based arts journalist David D'Arcy reports from the city. Now that the results are in, the official artist of the 2017 general election, Cornelia Parker RA, discusses documenting the 10-week campaign and the finished artwork she'll be creating for the parliamentary art collection.The leading American tenor Lawrence Brownlee talks about singing as fast and sweepingly as a jazz sax solo, and delivering jive talk in grand classical style, in the European premiere of the opera Charlie Parker's Yardbird. Radio 4's Poet in Residence, Daljit Nagra, discusses the work of poet and novelist Helen Dunmore, who died on Monday, and responds to Hold Out Your Arms, her final poem written just two weeks ago.Presenter Nikki Bedi Producer Jerome Weatherald.

Mark Coles profiles sculptor and installation artist Cornelia Parker, this year's official election artist. Parker's work has involved spectacular acts of destruction, from flattening brass band instruments, to dismantling old barns and blowing up sheds. As Parker roams the country observing the election campaign, Coles speaks to her friends and peers about how she went from a childhood spent in rural Cheshire where she struggled to fit in, to Turner Prize-nominated artist.

Grime artist Stormzy became a worldwide sensation when online videos of him and his friends in the park went viral. With the release of his first studio album Gang Signs & Prayer and a national tour, he talks about his range of different styles, trying to please his mum and the police kicking down his door.Poland's greatest living composer, Krzysztof Penderecki, whose powerfully dissonant music has been used in films such as Kubrick's The Shining, reveals that his terrible experience of Nazi occupation inspired his masterpiece St Luke Passion. Ash to Art is the response of 25 artists to the fire that destroyed a significant part of the Glasgow School of Art in 2014. Each was given a piece of charcoal from the burned-out Mackintosh Library and asked to make a work that could be auctioned to raise money for the building's restoration. Cornelia Parker, Chantal Joffe and Ishbel Myerscough show John round the exhibition at Christie's in London.Presenter John Wilson Producer Jerome Weatherald.

Cornelia Parker and Dr Maria Balshaw CBE in discussion.

Someone whose work often involves finding things, grinding things, squashing things and blowing things up, artist Cornelia Parker has a self confessed curious relationship to things. In this episode, Zoe visits Cornelia at home to discover what 5 things she feels have made her.

Whit Stillman takes on an early Jane Austen epistolary novella, Love and Friendship; a film full of wicked women and gullible men Cornelia Parker's asked 60 artists to submit items to an exhibition of found objects at London's Foundling Museum. The man who revived Doctor Who for the BBC -Russell T Davis - turns his attentions to an all-star version TV of Midsummer Night's Dream Simon Armitage has translated another Middle English poem; Pearl. It's the tale of a man addressing a daughter who died as an infant and returns as a bride of Christ Rory Kinnear plays Macheath in the National Theatre's production of Brecht and Weill's The Threepenny Opera Tom Sutcliffe's guests are John Tusa, Kamila Shamsie and Nihal. The producer is Oliver Jones.

On Start the Week Andrew Marr talks to the artist Cornelia Parker about the secrets revealed in found objects. Parker's latest exhibition at the Foundling Museum is inspired by the 18th Century tokens left with babies by their mothers. Simon Armitage finds a new way of telling the medieval poem Pearl, an allegorical story of grief and lost love. Archaeologist Cyprian Broodbank explains how Must Farm, the first landscape-scale investigation of deep Fenland, is transforming our understanding of Bronze Age life, while British Museum curator Aurelia Masson-Berghoff celebrates the finding of two lost Egyptian cities submerged at the mouth of the Nile for over a thousand years. Producer: Katy Hickman.

Arts Tonight: British Artist Cornelia Parker and her curator Mary Griffiths at the Whitworth Gallery, Manchester.

Artist Cornelia Parker's contribution to The British Library's Magna Carta octocentennial exhibition is an embroidery interpretation of the Wikipedia page for this cornerstone of the British constitution. What does it add to the commemorations? There's a new Mad Max film, "Fury Road", with Tom Hardy replacing Mel Gibson in the title role - it's two hours of more-or-less non-stop action and taken decades to reach the screen; is it worth the wait? Film director Mike Leigh is a big fan of the operas of Gilbert and Sullivan. He has been working with English National Opera on a staging of The Pirates of Penzance -how does his improvisational working style fit with the formatted world of opera? Jonathan Strange and Mr Norrell was Susanna Clarke's 800 page novel of magic in 19th Century England. It's been turned into a 7-part TV series by the BBC. American novelist TC Boyle's newest work is The Harder They Come, about gun control and mental illness in the USA.

What is waste? William Viney‘s Waste: A Philosophy of Things (Bloomsbury, 2014) explores the meaning of waste across a variety of contexts, including literature, sculpture and architecture. The text begins by stressing the importance of time to our understanding of waste, as opposed to more traditional conceptions that are grounded in spatial distinctions. Rather than looking at waste through the dualities of useful or not useful, dirty or clean, William Viney asks us to be attentive to our relationship to objects in time, understanding how they are understood by the many narratives that they may contain, which they may have been party to, and which they may require for us to be able to understand them. The book draws on an emerging but established tradition of work that draws attention to the role of materiality and objects in our understanding of the world. By offering an alternative to the view that waste is the garbage of consumer capitalism, we can see the value of things as their potential, as it is realised in time. The importance of time to understanding objects, as well as understanding waste, is seen through diverse examples, from Cornelia Parker’s sculptures, one created from an exploded shed, through the material objects of the manuscripts of James Joyce, to the representation of future ruins in The Planet of The Apes. These diverse and eclectic sites to exploring waste sit alongside the readings of more traditional subjects for literary theory, such as Elliot’s The Waste Land, meaning the book will appeal to a range of scholars working across the humanities and in the social sciences. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is waste? William Viney‘s Waste: A Philosophy of Things (Bloomsbury, 2014) explores the meaning of waste across a variety of contexts, including literature, sculpture and architecture. The text begins by stressing the importance of time to our understanding of waste, as opposed to more traditional conceptions that are grounded in spatial distinctions. Rather than looking at waste through the dualities of useful or not useful, dirty or clean, William Viney asks us to be attentive to our relationship to objects in time, understanding how they are understood by the many narratives that they may contain, which they may have been party to, and which they may require for us to be able to understand them. The book draws on an emerging but established tradition of work that draws attention to the role of materiality and objects in our understanding of the world. By offering an alternative to the view that waste is the garbage of consumer capitalism, we can see the value of things as their potential, as it is realised in time. The importance of time to understanding objects, as well as understanding waste, is seen through diverse examples, from Cornelia Parker’s sculptures, one created from an exploded shed, through the material objects of the manuscripts of James Joyce, to the representation of future ruins in The Planet of The Apes. These diverse and eclectic sites to exploring waste sit alongside the readings of more traditional subjects for literary theory, such as Elliot’s The Waste Land, meaning the book will appeal to a range of scholars working across the humanities and in the social sciences. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is waste? William Viney‘s Waste: A Philosophy of Things (Bloomsbury, 2014) explores the meaning of waste across a variety of contexts, including literature, sculpture and architecture. The text begins by stressing the importance of time to our understanding of waste, as opposed to more traditional conceptions that are grounded in spatial distinctions. Rather than looking at waste through the dualities of useful or not useful, dirty or clean, William Viney asks us to be attentive to our relationship to objects in time, understanding how they are understood by the many narratives that they may contain, which they may have been party to, and which they may require for us to be able to understand them. The book draws on an emerging but established tradition of work that draws attention to the role of materiality and objects in our understanding of the world. By offering an alternative to the view that waste is the garbage of consumer capitalism, we can see the value of things as their potential, as it is realised in time. The importance of time to understanding objects, as well as understanding waste, is seen through diverse examples, from Cornelia Parker’s sculptures, one created from an exploded shed, through the material objects of the manuscripts of James Joyce, to the representation of future ruins in The Planet of The Apes. These diverse and eclectic sites to exploring waste sit alongside the readings of more traditional subjects for literary theory, such as Elliot’s The Waste Land, meaning the book will appeal to a range of scholars working across the humanities and in the social sciences. Learn more about your ad choices. Visit megaphone.fm/adchoices

John Wilson has live news of the winner of the Baileys Women's Prize for Fiction and speaks to the artist Cornelia Parker who has curated a monochrome room at the Royal Academy's Summer Exhibition. He also meets English National Ballet's lead principal Daria Klimentová as she prepares for her final professional performance, in Romeo and Juliet at the Royal Albert Hall, and hears about two stage adaptations of American anti-war novels currently on in the UK.

In Cornelia Parker's Rorschach (Endless Column III) 14 flattened silver-plated domestic objects, are suspended on wires in a horizontal line, hovering a few inches above the floor. All the objects -- including a candelabra, a fruit basket and a ladle -- have been squashed by a 250 ton industrial press. Standing in front of her stunning sculptural installation, purchased by the GAC in 2009, Cornelia Parker gives a revealing interview about what motivated her to make the work. She explains why she chose the particular silver-plated pieces, where she collected them from and what made her pulverise them with an industrial press. Emphasising that these are silver-plated objects not silver, Parker explains that they are the kind of pieces that people tend to give to commemorate occasions such as weddings, anniversaries and retirement -- this is silver that we all have in our lives. Cornelia Parker was born in Cheshire. She trained at Gloucester College of Art and Design, Wolverhampton Polytechnic and completed her Master of Fine Art degree at the University of Reading. In 1995, she collaborated with performer Tilda Swinton in The Maybe, an installation for the Serpentine Gallery. She was nominated for the Turner Prize in 1997 and a major exhibition of her work was held at the Serpentine Gallery, London in 1998. In 2001 she was commissioned to produce a sculpture for the new British Galleries of the Victoria and Albert Museum. Two major solo shows of her work were held in 2008 at the Ikon Gallery, Birmingham and at the Whitechapel Gallery, London

Audio recording of The State of Art: Cornelia Parker in conversation with Kelly Grovier at Tate Modern

This week: Part one of the Open Engagement conference 2013 series. Caroline Picard talks to Caire Doherty! Claire Doherty is Director of Situations. Claire initiated Situations in 2003 following a ten-year period investigating new curatorial models beyond conventional exhibition-making at a range of art institutions including Ikon Gallery, Birmingham, Spike Island, Bristol and FACT (Foundation of Art and Creative Technology), Liverpool. Claire has worked with a diversity of artists including Lara Almarcegui, Uta Barth, Brian Catling, Phil Collins, Nathan Coley, Lara Favaretto, Ellen Gallagher, Joseph Grigely, Jeppe Hein, Susan Hiller, Mariele Neudecker, Cornelia Parker, Roman Ondak, Joao Penalva and Ivan and Heather Morison. She has advised a range of organisations as curatorial consultant including Tate, Site Gallery Sheffield and is author of the public art strategies for the University of Bristol and Bjorvika, Oslo Harbour. In 2009, Claire was awarded a prestigious Paul Hamlyn Breakthrough Award as an outstanding cultural entrepreneur. Claire directed One Day Sculpture in 2008-9 with David Cross, a year-long collaborative series of 20 commissioned, 24-hour public artworks across New Zealand. In 2010, she was Co-Curatorial Director of Wonders of Weston for Weston-super-Mare. Doherty lectures and publishes internationally. She is editor of Contemporary Art: From Studio to Situation (Black Dog Publishing, 2004); Documents of Contemporary Art: Situation (Whitechapel/MIT Press, 2009) and co-editor with David Cross of One Day Sculpture (Kerber, 2009), with Paul O’Neill, Locating the Producers: Durational Approaches to Public Art (Valiz, 2011) and with Gerrie van Noord, Heather and Ivan Morison: Falling into Place (Book Works, 2009). She was also an external advisory member of the Olympic Park Public Realm Advisory Committee and a Fellow of the RSA.

With Kirsty Lang. Foxfire is a new film adapted from Joyce Carol Oates' award-winning bestseller, set in America in 1953. Five headstrong teenage girls form a secret society, the Foxfire gang, in defiance of the violent male-dominated culture of their small town. American writer Diane Roberts reviews. Nick Payne's new play, The Same Deep Water As Me, explores the murky world of personal injury claims. Lawyers Andrew and Barry are focussing on legitimate clients until Andrew's old school friend appears with a plan to make a quick buck. Payne's last play, Constellations, was a love story set against a background of quantum physics - and he talks about choosing weighty topics for his dramas. Artist Cornelia Parker, best-known for blowing up a garden shed and suspending the fragments, reveals her Cultural Exchange choice: Dust Breeding, a photograph by the American surrealist, Man Ray. Charlotte Mendelson discusses her latest novel, Almost English, which has been longlisted for the Man Booker Prize for fiction. The heroine, Marina, is a 16 year old brought up by loving but embarrassing elderly Hungarian relatives. In a bid to become a polished and elegant woman, Marina goes to a very English boarding school. Charlotte Mendelson talks about her own family's complicated history and learning to spell the Hungarian words in her novel. Producer Rebecca Nicholson.

Cornelia Parker choose a photograph by Man Ray called Dust Breeding. Plus archive BBC interviews with Man Ray and Marcel Duchamp.

Author and illustrator Judith Kerr discusses her life and her books, in the week that she turns 90; Mexican tenor Rolando Villazón discusses his love of Verdi's music, 200 years after the composer's birth; best-selling crime writer Peter James discusses his latest book Dead Man's Time, the ninth novel in the Roy Grace Series; singer-songwriter Laura Marling reflects on her new album, Once I was an Eagle, and performs in the Front Row studio; novelist Mark Haddon discusses the curiosity of the Uffington White Horse for Front Row's Cultural Exchange; artist Cornelia Parker reflects on her latest exhibition, and a new book on her work.

With Mark Lawson. Kim Cattrall plays a fading Hollywood star in a new staging of Tennessee Williams' Sweet Bird of Youth. Marianne Elliott directs the play, which is set in the late 1950s in the American South. Sarah Churchwell reviews. The artist Cornelia Parker is best known for installations involving the exploding of a garden shed, Tilda Swinton sleeping in a glass case and the wrapping of Rodin's The Kiss in a mile of string. She reflects on her latest exhibition, and a new book on her work. For Cultural Exchange, Gwyneth Lewis - the inaugural Poet Laureate of Wales - chooses a dance routine from the Laurel and Hardy film Way Out West (1937). Novelist Brian Aldiss discusses his final science fiction work Finches Of Mars, which he's published at the age of 87. He also reveals why he has been writing a short story every day for the last year and casts his mind back over a long career that included a brief stint as an erotic novelist. Producer Nicki Paxman.

Alex Harris and Anne McElvoy review the latest Marc Chagall exhibition at the Tate Liverpool. Andrew Simms and Stephen D. King discuss the "End of Western Affluence". Anne talks to Cornelia Parker about her latest exhibition at Frith Street Gallery. And one of this year's Radio 3 New Generation Thinkers, Eleanor Rosamund Barraclough reflects on the possible relationship between Nordic Noir TV and Old Norse Tales.

Cornelia Parker has shot at objects, thrown them from cliffs, blown them up and rolled over them with a steam roller. Her sculptural processes have been described as ‘mimicking cartoon deaths’. Parker’s work is both dramatic and delicate, powerful and int

This event brings together scientists Patrick Haggard, Professor at the Institute of Cognitive Neuroscience & Department of Psychology, and Marcus du Sautoy, Professor of Mathematics, Royal Society University Research Fellow, Mathematical Institute, Unive

An interview that goes off the rails, reviews, our San Francisco branch checks in! Wow! Check out our new NEWS FLASH section below. THIS WEEK: Liz Armstrong, author of the Chicago Anti-social column in the Reader. From her Wikipedia entry: Liz Armstrong lives in Chicago, Illinois. She has performed solo and with the bands To Live and Shave in L.A. and To Live and Shave in L.A. 2 under the stage name "Misty Martinez." Since 2004, she has written first-person party journalism for the Chicago Reader in her "Chicago Antisocial" column. But that doesn't begin to cover our knife wielding interview. Liz is the first guest to show up "heavy" to an interview. She was none-the-less delightful and wacky to talk to. Amanda and Liz have a battle royalle and end up pals! This interview is a non-stop action fest loaded withconfessional jaw dropping moments. You'll laugh, you'll cry, it will become a part of you. You'll listen again and again. It's downright worthy of Chicago Anti-Social. If that wasn't enough, Amanda, Duncan and Richard review the new shows at Giola, Gescheidle, Aron Packer and the Beverly Art Center. Names dropped:Fred Stonehouse, Michael Noland, James Rosenquist, Barbara Weisen, The Gahlberg Gallery at the College of DuPage, NASCAR, Arturo Herrera, Martin O'Conner, Jeremy Black, Jason Ruhl, Marcel Dzama, Michael Dumontier, Neil Farber, The Royal Art Lodge, Shelley Spector, Instant Coffee, Kiki Smith, Kota Ezawa, Cornelia Parker, Wang Du, Wangechi Mutu, The Beverly Art Center, Jenny O'Conner, Stephen Warde Anderson, Hank Feeley, and there are about a zillion artists in the Tattoo show that you need to go and check out on your own as I left the list at work, sorry. NEWS FLASH: New City answered all of our Gallery 400 related questions. Check it out The Rest of the Story!!! While you're at it check out Amanda's review! Amanda's Review VOTE FOR US PLEASE! We are listed as the second best art podcast, how dare they! Help us be #1!!! VOTE NOW!!! NEXT WEEK: Reviews from London, our San Francisco correspondent interviews internationally famous rapper and performance artist Jelly-Doughnut at the Doughnut shop featured in the Maximum Wage video, and so much more! The following week we are interviewing rock star curator James Rondeau. Free up some time to listen, these will be great shows.

Sue Lawley's castaway this week is the artist Cornelia Parker. Cornelia grew up in the country where she lived on a small holding looked after by her father. She spent much of her time mucking out pigs, milking cows, laying hedges and tying up tomato plants. Her means of escape was to run into the fields to daydream. English and art were her favourite subjects, and a trip to the Tate Gallery in London with her school when she was aged 15 confirmed that she wanted to be an artist. After studying art at college, Cornelia turned her hand to sculpture, inspired by the Arte Povera movement in Italy which rejected traditional marble and bronze and used any materials they chose. She developed her style by mixing with other students and collaborating with theatre groups. Cornelia liked the idea of her work being ephemeral and didn't worry about it's existence beyond an exhibition. For her first solo exhibition in 1980 she showed a number of pieces and because she had nowhere to store them, told the organisers that afterwards they could give them to local schools. "I don't know what they did with them!" she says. After a car accident in 1994 Cornelia began to realise the importance of keeping some of her work and she began to be represented by a gallery. She broadened her collaborations - for her piece Cold Dark Matter: An Exploded View she got the British Army to blow up a shed so that she could hang it back together again, suspended around a lightbulb. For her piece Wedding Ring Drawing she employed a silversmith who could draw a gold wedding ring into a very fine thread. In 1995 she worked with the actress Tilda Swinton on a project The Maybe, which included Tilda herself exhibited in a glass case. In 1997 Cornelia was nominated for the Turner Prize for her work.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Cry Baby by Janis Joplin Book: World of Wonder: 10,000 things every child should know by Charles Ray Luxury: A solar-powered vibrator

Sue Lawley's castaway this week is the artist Cornelia Parker. Cornelia grew up in the country where she lived on a small holding looked after by her father. She spent much of her time mucking out pigs, milking cows, laying hedges and tying up tomato plants. Her means of escape was to run into the fields to daydream. English and art were her favourite subjects, and a trip to the Tate Gallery in London with her school when she was aged 15 confirmed that she wanted to be an artist. After studying art at college, Cornelia turned her hand to sculpture, inspired by the Arte Povera movement in Italy which rejected traditional marble and bronze and used any materials they chose. She developed her style by mixing with other students and collaborating with theatre groups. Cornelia liked the idea of her work being ephemeral and didn't worry about it's existence beyond an exhibition. For her first solo exhibition in 1980 she showed a number of pieces and because she had nowhere to store them, told the organisers that afterwards they could give them to local schools. "I don't know what they did with them!" she says. After a car accident in 1994 Cornelia began to realise the importance of keeping some of her work and she began to be represented by a gallery. She broadened her collaborations - for her piece Cold Dark Matter: An Exploded View she got the British Army to blow up a shed so that she could hang it back together again, suspended around a lightbulb. For her piece Wedding Ring Drawing she employed a silversmith who could draw a gold wedding ring into a very fine thread. In 1995 she worked with the actress Tilda Swinton on a project The Maybe, which included Tilda herself exhibited in a glass case. In 1997 Cornelia was nominated for the Turner Prize for her work. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Cry Baby by Janis Joplin Book: World of Wonder: 10,000 things every child should know by Charles Ray Luxury: A solar-powered vibrator