Podcasts about courtauld

The Art Newspaper's digital editor Alexander Morrison is in Basel for the annual Art Basel fair. He talks to our art market editor, Kabir Jhala, about the atmosphere at the fair after a long downturn in the art market and underwhelming auctions last month in New York. While some major museums around the world would rather avoid the topic of returning objects acquired in the colonial period to their countries of origin, The Wereldmuseum in Amsterdam is attempting to get on the front foot, with an exhibition called Unfinished past: return, keep, or...? One notable aspect of the show is that it is not presenting any human remains. Ben Luke speaks to our correspondent in the Netherlands, Senay Boztas, about the future of human body parts in Dutch museums. And this episode's Work of the Week is Untitled or Not Yet (1966) by Eva Hesse, which is in a new exhibition at The Courtauld in London, called Abstract Erotic. The exhibition unites Hesse with fellow sculptors Alice Adams and Louise Bourgeois. Ben talks to Jo Applin, the co-curator of the show.Art Basel continues until Sunday, 22 June.Unfinished Pasts, Wereldmuseum, Amsterdam, until 3 January 2027.Abstract Erotic: Louise Bourgeois, Eva Hesse, Alice Adams, The Courtauld, 20 June-14 September; Louise Bourgeois: Drawings from the 1960s, the Courtauld, 20 June-14 September.Summer subscription offer: get up to 50% off an annual print & digital subscription to The Art Newspaper. https://www.theartnewspaper.com/subscriptions-SUMMER25P&D?promocode=SUMMER25&utm_source=special+offer+banner&utm_campaign=SUMMER25 Hosted on Acast. See acast.com/privacy for more information.

Ep. 248 Adrienne L. Childs is an independent scholar, art historian, and curator. She is Senior Consulting Curator at The Phillips Collection. Her current book is an exploration of Black figures in European decorative arts entitled Ornamental Blackness: The Black Figure in European Decorative Arts, published by Yale University Press. She is currently co-curator of Vivian Browne: My Kind of Protest for The Phillips Collection. She recently co-curated The Colour of Anxiety: Race, Sexuality and Disorder in Victorian Sculpture at The Henry Moore Institute in Leeds, England. She was the guest curator of Riffs and Relations: African American Artists and the European Modernist Tradition at The Phillips Collection in Washington DC, 2020. In April 2022 The High Museum of Art awarded Childs the 2022 Driskell Prize in recognition of her contribution to African American art and art history. Childs co-curated The Black Figure in the European Imaginary at The Cornell Fine Arts Museum at Rollins College in 2017. She is co-editor of the volume essays Blacks and Blackness in European Art of the Long Nineteenth Century, Routledge. She also contributed an essay on art and activism to Volume V, part II of The Image of the Black in Western Art edited by Henry Louis Gates, Jr. and David Bindman. As former curator at the David C. Driskell Center at the University of Maryland she curated many exhibitions including Her Story: Lithographs by Margo Humphrey; Arabesque: The Art of Stephanie Pogue; Creative Spirit: The Art of David C. Driskell and Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art. Childs holds a BA from Georgetown University, an MBA from Howard University and a PhD in the History of Art from the University of Maryland. Photocredit: Rodrigo Salido Moulinié  Website https://www.adriennelchilds.com/ Phillips Collection  Vivian Browne: My Kind of Protest |The Phillips Collection https://www.phillipscollection.org/sites/default/files/2025-04/phillips-collection-presents-vivian-browne-my-kind-of-protest-press-release.pdf  https://www.phillipscollection.org/press/phillips-collection-presents-multiplicity-blackness-contemporary-american-collage https://www.phillipscollection.org/event/2020-02-28-riffs-and-relations-african-american-artists-and-european-modernist-tradition Ornamental Blackness https://www.ornamentalblackness.com/ The Driskell Center https://driskellcenter.umd.edu/news/former-driskell-center-curator-adrienne-childs-phd-wins-2022-driskell-prize High Museum https://high.org/driskell-prize/adrienne-l-childs/ The Clark https://www.clarkart.edu/fellow/detail/adrienne-childs-(1) Courtauld https://courtauld.ac.uk/whats-on/reconsidering-riffs-and-relations/ Columbia University https://abolitionism.universityseminars.columbia.edu/people/adrienne-l-childs The Wadsworth https://www.thewadsworth.org/event/public-lecture-pearl-drops-and-blackamoors-the-black-body-and-pearlescent-adornment-in-european-art-with-adrienne-l-childs/ ARTnews https://www.artnews.com/art-news/news/adrienne-l-childs-david-c-driskell-prize-high-museum-1234620561/ Culture Type https://www.culturetype.com/tag/adrienne-l-childs/Enfilade  https://enfilade18thc.com/2024/09/20/lecture-adrienne-childs-on-pearl-drops-and-blackamoors/ MontclairArt Museum https://www.montclairartmuseum.org/press/press-room/montclair-art-museum-presents-landmark-exhibition-century-100-years-black-art-mam Portland Museum https://www.portlandmuseum.org/eventscalendar/2021-bernard-osher-lecture Journal Panorama https://journalpanorama.org/article/riffs-and-relations/ AHNCA https://ahnca.org/event/the-colour-of-anxiety-race-sexuality-and-disorder-in-victorian-sculpture/

This series of conversations with art educators expand on the ideas presented by Visualise: The Runnymede Trust and Freelands Foundation 2024 report on Race & Inclusion in Secondary School Art Education. In this episode 'Visualise the Future' we are joined by Carey Robinson, Deputy Director, Learning and Public Programmes at The Fitzwilliam Museum in Cambridge. She has formerly held strategic, curatorial, and creative producer roles at leading cultural institutions including Tate, the Institute of Contemporary Arts, the South London Gallery, and The Courtauld. Carey and I reflect and expand on the reports recommendations for the future and imagine a new direction for art education in the U.K. Carey's referenced the following resources in our conversation:Anti-Racism Framework for Initial Teacher Training/Educationhttps://indd.adobe.com/view/ffcc4fdd-e948-41fc-bb21-fca9e82b6b91 Centre for Creative Explorations (Dr Clare Stanhope)https://centreforcreativeexplorations.weebly.com/ Dr Claire Stewart-Hall (constructions of race in education)https://www.leedsbeckett.ac.uk/staff/associate-staff/claire-stewart-hall/ Centre for Race, Education and Decoloniality (CRED)https://www.leedsbeckett.ac.uk/research/centre-for-race-education-and-decoloniality/ My Primary School is at the Museumhttps://www.kcl.ac.uk/cultural/resources/reports/161107-primary-at-museum-report-stage-7-visual-interactive.pdf https://paradigmproject.co.uk/Read the report Freelands Foundation Visualise report here. Executive producer and host Lou MensahShade Podcast InstagramShade Podcast WebsiteMusic King Henry IV original composition for Shade Podcast by Brian JacksonEdit & Mix by Tess DavidsonEditorial support Dale Berning SawaPodcast design Joel Antoine-WilkinsonShade Art Review Help support the work that goes into creating Shade Podcast. https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

El dibujante Pep Domingo (Nadar) y Xavier Betaucourt firman 'Regreso a Garden City', un comic sobre aquel marzo de 1967 en el que Truman Capote, escritor, volvió al lugar del crimen de su 'A sangre fría' para visitar el rodaje de la película que adaptaba su novela y después de regresar a Garden City. Con Mery Cuesta visitamos la exposición '31 mujeres. Una exposición de Peggy Guggenheim' que comisaria Patricia Mayayo en Fundación Mapfre. Se inspira en una muestra que la coleccionista Peggy Guggenheim organizó en 1943 y que se recrea hoy en 2024.Hoy ha muerto, a los 88 años, Kris Kristofferson, que no sólo es uno de los nombres indispensables de la música del siglo XX. Para muestra su Me and Bobby Mcgee que popularizó Janis Joplin. Sino que también dejó su huella en medio centenar de películas.Viajamos ahora a Londres en un viaje físico y temporal, hacía los finales del siglo XIX, principios del XX. Londres era entonces la ciudad más poblada del mundo y la capital de la revolución industrial y ahí estaba Claude Monet, a las orillas del Támesis, pintando, capturando, los cambios de luz sobre el río londinense. Ahí nació una de las famosas series del maestro impresionista francés: "Vistas sobre el Támesis". Parte de estas obras se exponen hasta enero en la Galería Courtauld de Londres.Escuchar audio

Arthur returns to Berlin for a late May gallery road trip with Alise, before she takes on a new position as a gallery director in Portugal.Still piecing together the best exhibitions of Berlin Gallery Weekend, our art drivers head to Haverkampf Leistenschneider, to see Aubrey Levinthal's exhibition ‘Cloud Cover'. It's hard to overstate the poetry of this show. There is so much to take in – so many stories to unravel in each composition – that it really deserves to be seen in person, before closing on 15 June.From there, the drive and conversation meander towards KaDeWe, the Frank Auerbach exhibition ‘The Charcoal Heads' at The Courtauld, and a discussion of how exactly the show will continue with Alise no longer in Berlin (spoiler: Arthur will call her on the car phone, and there may be one or two new guest hosts in the passenger seat).

To celebrate the significant achievements and public recognition of artist Claudette Johnson and the wonderful news of her nomination for the 2024 Turner Prize, we are delighted to present a special episode of The Courtauld's Podcast, #CourtauldCast. This episode captures a conversation between Claudette Johnson MBE, artist Chantal Joffe RA and Professor Dorothy Price FBA recorded during the recent five-star exhibition Claudette Johnson: Presence at The Courtauld Gallery (29 Sep 2023 – 14 Jan 2024).A founding member of the Black British Arts Movement, Claudette Johnson is considered one of the most significant figurative artists of her generation. For over 30 years she has created large-scale drawings of Black women and men that are at once intimate and powerful. The exhibition at The Courtauld Gallery presented a carefully selected group of major works from across her career, from key early drawings, such as the arresting I Came to Dance, 1982, and And I Have My Own Business in This Skin, 1982, alongside her extraordinary new body of works made over the last ten years. The exhibition was rooted in the ongoing research, teaching and activities in the field of Black and Diasporic British Art by Dorothy Price, Professor of Modern and Contemporary Art and Critical Race Art History at The Courtauld.Happy Listening! Hosted on Acast. See acast.com/privacy for more information.

Charlie and Lucy Barker (The Other Side Of Mrs Wood) discuss Victorian mediums both factual and fictionalised - their work, the spiritualism that led to their popularity, the social circles, the rivalry, the rumours of fraud, and the women's roles as early grief counselors. We also talk about the early days of the Suffrage movement and various aspects of the book's ending. Please note there is a very mild swear word in this episode. The Courtauld's exhibition of Georgiana Houghton's spirit paintings A preview of Tracy Ann Oberman's audio version of The Other Side Of Mrs Wood Lucy's blog post on the postal service in Victorian times One Night At McCool's Lucy's blog post on using Notting Hill Where to find Lucy online Blog || Twitter || Instagram Where to find Charlie online Website || Twitter || Instagram Discussions 01:50 The real mediums who inspired the book: Agnes Guppy and Florence Cook 05:17 Lucy talks about how mediums in general were able to escape accusations of falsehood despite many being outed as frauds 08:53 The fickleness and loyalty of medium patrons 10:35 Why the Victorians were in to Spiritualism 14:00 The importance of the references to America throughout the book - America's own spiritualism 15:27 Mrs Wood, Miss Newman, and Miss Finch 19:07 The very early days of the women's suffrage movement 22:30 About Mrs Wood's circle of people 26:35 How Mrs Wood seeing herself as providing a service for grieving people, and the role of mediums in early grief counseling 29:34 The comedy in the book, and Lucy speaks briefly about her next book in the context of humour 30:58 Lucy's use of letters in the book, and Mr Clore's columns 33:23 The ending: why Lucy chose the ending she did for Mrs Wood and Mr Larson 35:32 Charlie thought it was going to be revealed that Miss Finch could really talk to spirits - Lucy discusses this point. Listen in! 37:24 The ending: Mrs Wood and Miss Finch and their terms 39:20 Lucy tells us about the locations in the book: Victorian-era Notting Hill, Portobello Road, Ladbroke Grove 42:32 Lucy gives us more information about her next book

15th April 2024 The Spokesmen Cycling Podcast EPISODE 351: Andy McGrath — God is Dead SPONSOR: Tern Bicycles HOST: Carlton Reid GUEST: Andy McGrath LINKS: https://www.the-spokesmen.com/ https://www.ternbicycles.com https://twitter.com/CarltonReid https://twitter.com/Andymcgra https://andydoesart.substack.com https://www.amazon.co.uk/God-Dead-Vandenbroucke-Cyclings-Wasted/dp/0552176044/ TRANSCRIPT Carlton Reid 0:12 Welcome to Episode 351 of the Spokesmen cycling podcast. This show was engineered on Monday, April 15 2024. David Bernstein 0:28 The Spokesmen cycling roundtable podcast is brought to you by Tern bicycles. The good people at Tern are committed to building bikes that are useful enough to ride every day and dependable enough to carry the people you love. In other words, they make the kind of bikes that they want to ride. Tern has e-bikes for every type of rider. Whether you're commuting, taking your kids to school or even carrying another adult, visit www.ternbicycles.com. That's t e r n bicycles.com to learn more. Carlton Reid 1:04 I'm Carlton Reid. And today's show is the first of two episodes with bike book authors. Later this week, I'll share the chat I had with potholes and pavement author Laura Laker a book so fresh, it's not even out yet. But today, I talk with William Hill award winning author Andy McGrath about his 2022 book, God is dead biography of Frank Vandenbrouke the wunderkind who died a mysterious death in a grungy African hotel room. Liège–Bastogne–Liège has been staged since 1892, the oldest of cycling's five monument races, and this year's race will be staged at the end of the month, Sunday the 21st to be exact. Now, Andy, it's 25 years since a certain famous victory of that particular race. So tell us about that. Andy McGrath 2:10 This was the edition of Liège–Bastogne–Liège where the great Belgian cycling hope Frank Vandenbrouke seemed to be fulfilling his immense potential. And he did it in his own unique way. He told anyone that would listen in the days for the race, you know, teammates, DS's, rivals and other races and media, where he was going to attack to win the race to make it stick, a bit like Muhammad Ali used to do before his heavyweight fight. And he'd went out for a 20 minute puto, a few days before the age best on the age. And it's covered his teammate saw him come back to the hotel, you know, barely a blink of an eye later. And he told him, that's all all I need, I feel good. I'm going to win lift some of the age. And he was in a state of grace that day, he attacked on by ODU, which sounds different course back then. It finished in an industrial suburb over the age. And the Cordilla. Redo was about oh, at 90k from the finish. And he, he he wrote up in the big room, he tacked up in the big green, which is I could barely walk up it when I was researching the book, which is a astonishing and slightly sinister thing when you really get into that era of cycling. And he was already clearly the best, you know, he he accelerated pass the defending champion makayley Bartley like it was nothing and then he just let the rest catch him up, basically. And he did attack, you know, if we're going to split hairs slightly later than he said he would you know, or maybe earlier actually, I think it was early. And he said he would you know, a few 100 metres earlier. Because Carlton Reid 3:55 Because that's in your book, isn't it? Yeah. It's a very detailed book and you you're knocking on doors, and you give the exact door that he actually did attack on and not the one that you said he's going to attack on? Andy McGrath 4:06 Yeah, the thing is, I actually knocked on the door of the house number he said he would attack which was 256. You know, hoping for some kind of journalistic intrigue and it was a little bit disappointing that I think people that answered the door were very nice, but it was someone looking after their elderly parent and they said they didn't like cycling, they didn't know about it. So so so I was like yeah, that's there's that avenue gone in the book. But no abandoned Brook road away from the last remaining rival Michael Burgard on the court to send Nicola outside the edge and road to victory just like he said he would and you know, a country that was already in thrall to him was an even more rapturous, you know, Eddie Merckx was extremely impressed. You know, the Eddie marks the greatest and that was really, I think it was 24 Back then van of work, and it wasn't so normal for providers to break through in their early 20s, which is what he had done. He was the exception. And it seemed like that, you know, the cycling world was gonna fall to him. You know. During the book research, I kind of ascertained that he could probably have won almost anything apart from a grantor, you know, he was a strong climber, but didn't have the consistency or the or the mentality to do it over three weeks, but everything else was, was fair game. But that was a very brief high point, you know, that was that was paradise. And he was soon into purgatory. And then how, you know, within a year, which kind of summed up his his life and his career trajectory. Carlton Reid 5:41 And, and spoiler alert, the kind of the title of your book tells us that Frank is no longer with us. But you did refer a few moments ago, almost to the fact that this is an EPO era. So he's going up in the big ring, that's kind of Superman stuff that, you know, Nietzsche, God is dead stuff. So clearly he was he was deeping, he kind of admitted he was doping. This is the EPO era. But then what everybody was saying at that time was, well, everybody was doping. So we're all equal. Do you buy into that? Are you if everybody's taken EPO at the time, and he's such a wonderful rider? Let's give him those victories, because everybody was on this stuff. person. Andy McGrath 6:27 I mean, they're all saying at the time, and I was partly what bothered him, you know, 5, 10 years later that he felt that he was being scapegoated. What we know now, is that essentially, you know, let's be the what's the word diplomatic here? Legally, most of the bunch, we're, we're doing it, there's been lots of admissions. Do I think that makes it okay, in a level playing field? No, no, I don't think so. That's too simplistic, you know, that comes down to you know, things like science and natural amount of creates and how much room you have to dope, you know, or to get up to the rudimentary UCI testing limit of 50, which it was back then, you know, which was, like a broken speed Camry on a motorway. It barely stopped cheating. If you are caught over the 50, like, image credit limit you are. I think you were given a small fine, and you couldn't race for two weeks? What kind of, you know, what kind of punishment? Is that really what kind of thing to stop? Anyone from having huge gains, really, that can change, change everything? So no, no, it wasn't fair. Like it's not fair. And there are a fair few riders who were probably in, in the minority who chose to be clean, you know, to ride on bread and water, as they say, who didn't make it who had to take other jobs who. And that was the kind of that's always a sad thing about doping in a way, you know, that. I don't think anyone who's has a positive for doping, who's cheated. When they get into cycling, they don't want to put a needle in their arm or have their blood transfused or whatever kind of ghoulish thing hopefully went on, doesn't go on now. But along the line they get, they get sucked into certain culture and you know, you invest so much time and energy and sacrifice into something you love, and you have to love it. That you realise, well, this is the kind of Faustian deal that many of them thought I had to make that they thought that they didn't do this, they would finish in the last group or second class group and they wouldn't, they wouldn't get the contract renewed. They wouldn't even be close to winning, you know, to fulfilling their childhood dreams. And you have an abrupt turn turn pro in 1994, which was really probably the worst the worst possible year to turn pro maybe in cycling, because EPO was, that was the year that it was about to get ramped, and if it wasn't already ramping. Carlton Reid 9:00 And then Cofidis wasn't exactly the cleanest of teams. Andy McGrath 9:04 No. I mean, this is Vandenbrouke. He was on Mapei who were the Italian super team. You may see their products in your local homeware stores you know, they still make I think it's grouting Yeah, ground tiles, tile, yes. tiles. things are still popular. I still smile when I see them and and b&q and all other good stores, but they were the best number one, and they really complimented in hindsight, complimented Vandenbrouke perfectly because often, you know, in in the classics of old classics, he won and he won a fair few, you know, scale the price hit Volk, obviously Liège–Bastogne–Liège. He could be the attacking foil or tactically to say Tom Steels, a sprinter or Johan Museuw, who was a permanent cobbles rider. But anyway, after three, four years, which were the most stable, far and away the most stable years, results wise and maybe mentality wise over his whole career. He has acted in he he wanted to be a contract. He wasn't ever patient with very much ever. And he he chose good to French Team Cofidis for double the money basically. And they gave him he could pick, you know, his friends, his his teammates, so, pick several of those. And it started off well, but yeah, it transpired that they had they had a kind of sleeping pill and drinking culture. And that's not a good combination. You know, even one thing. One of those dumb two accesses is bad, but they'd be on training camps, you know, in winter, this is how Vandenberg got hooked in the winter of 98. You know, they'd be it'd be bored you know, you do your training in the sun somewhere in Spain and then a radical Philip go mom, who I think one gateway will give himself. This strong, strapping Frenchman, you know, said why don't you take this and we'll have some drinks and what happens is you kind of you have a euphoric high. That's beyond you know, extreme drunkenness. You know, often you don't remember what you do when you're on under the influence of still not an alcohol, you know? And they go out partying or they're still the team campervan. And it's kind of thing you wouldn't believe it happened then, let alone now. Carlton Reid 11:28 So what is Stilnoct? It's in your book loads. So just tell us what Stilnoct is. Andy McGrath 11:34 It's a sleeping pill with various different brand names. I actually think Anglophone listeners might know it better as Ambien. I think that's alright. Okay. Yes. Australian kind of version of it. Yes, it's a sleeping pill. And you know, normally, I think it's used for insomniacs. And if you, you take one you wait 20 minutes, and it should pretty much knock you out. But they will take festivals, you know, handfuls at the very least. And if you resist if you fight the urge to sleep with alcohol, then you you push through to this strange blankness and euphoric high. And David Miller also has some stories, I think in his, his autobiography of strange things, and I'm the influence, you know. And, you know, it's kind of a reminder also, that professional cyclists, young freshmen, cyclists are very suggestible. They're, maybe not quite all of them fully formed as adults, you know, when they turn someone like Vandenbroucke turn pro, at 19. He was more brought up in the sporting culture than really, as a human being, as an app was an adult human being it and kind of influenced by that. So they're very fragile. And that's the other thing, you know, we've covered it. So there was a lacking duty of care, you know, in terms of the management and, you know, they seem to know what was going on, but they didn't do much about it really like they, they hired a psychologist to do a to have a talk with with the riders who basically laughed him out of the room. So you know, hindsight is 2020, but it was not a good team for Benbrook to band with a good culture. Carlton Reid 13:21 Andy, let's let's dig into you, because you've written this book. And we will we'll we'll talk about it, tonnes coming up. But this is before your time in effect, certainly before your time as a journalist you've started working from what I can see from your LinkedIn profile. You started working for Cycling Weekly. And then you became the head of Rouleur, which many people wouldn't want men will know both both titles of course. But this is in effect before your time. Was this before your were You were you like a big cycling fan? From a you know, a youth? Andy McGrath 14:00 Yeah, I mean, whenever its heyday was before my time in terms of cycling fandom, I really got into it, you know, the Lance Armstrong years 2002 was the year that I you know, discovered this fantastic and strange and exotic sport. And I you know, I did come across Vanderbrouke but by then he was really really on the down slide you know the downfall. I do remember his 2003 Tour of Flanders at the time you know, I remember it. It being this remarkable comeback story where you know this guy who was ranked outside the top 500 in in the UCI standings came second in the tour Flanders out of nowhere. But you know, he was kind of the figure of fun the kind of the fallen hero then. But yeah, he was kind of trying to see I didn't think much about him when I was at cycling weekly as a staff writer and then you know, joining ruler like, later on I to my first book was about Tom Simpson. I I published back in 2017 lovely kind of mix of contemporary photographs and stories from those who know Thompson best with Rapha, you know, one of their first books. And I was very fortunate that won the sports book of the year prize that year, which was a huge boon. Yes. Carlton Reid 15:22 What did you do with 30 grand Andy? Andy McGrath 15:25 I bought a Colnago Carlton, which possibly wasn't seeing us, I don't like to ride it in, you know, winter, or spring, sometimes autumn. So, you know, in the UK, I don't ride a bike to get too messy. And then that really leaves you two or three good months of cycling. So that was, that was my dream bike, you know, when I was a teenager that that was a bike. But funnily enough, that was a brand that I saw in all the cycling magazines, and I obviously, cycling journalists are not the best paid people in the world, sorry to disappoint their any young listeners. But that was, I mean, that was a life changing amount of money for me. So I did go ahead and bought a Kona Argo. You know, that was the that was the main thing and the rest went boringly in the savings. Carlton Reid 16:11 Now, I kind of threw that in there a to be rude, and see what you say. And so you know, is it wind, wind? And so on? No, it's a bike. Okay, great. But also, that was a big deal to win that, that, yeah, that's a big cash amount. And that's a big deal to win the William Hill sports book of the year well done on on that. You're basically your your, your, your, you've been writing about people who were from a different era, in effect. So these these are these are almost not united to me, Tom Simpson is isn't a contemporary, obviously. But Frank Vandenbroucke is certainly somebody I would be very, very well well aware of when I was, you know, in into, in writing about cycle sport I was, he was around at that point. So you're writing about people in effect from from from history. So you're almost a historian, not just, you know, not just a biographer, you're digging into past history, Andy McGrath 17:13 I never really thought about it like that, that's an interesting way of putting it maybe I should put historian on my LinkedIn profile. It feels like quite recent history, though. Carlton Reid 17:22 It really isn't, you know, when you look at this, this is 25 years, that's a good time away, you know, for for somebody to still be talked about, and for books to be written, etc. That's, that's, that's a federal what it is history. Andy McGrath 17:36 That's also what I like, because, you know, in a way, you know, Vandenbrouke, and Simpson both have, have had books written about them already. But I had the kind of maybe the naive hunch, which I would have told my publishers that I can get new stories, you know, there's more things to be said, by different people, which I which, which I believed in, you know, turned out to be true. You know, there's, there's deeper perspective says revisionism to be done, there's new things to be discovered. And, to be honest, I think I've found with, with slightly older people, you know, when you're talking about the people around Simpson and Vandenberg, and in general, and in cycling there, they've lived long lives, you know, so they have more more stories, more life, experience, more more regrets, you know, more successes. But they also, yeah, that somehow they're just that appeals to me, you know, they, they're certainly more open, generally speaking. You know, compared to, for example, let's say, if I was trying to write the, the biography of Matthew Vanderpool who, who won the Tour, Flanders, you know, very recently, there will be a whole circle of people around him that comparatively, it will be very close, very hard to get close to him. And very hard to get intriguing things now, you know, in 10 years time, maybe it'd be a different story. So I think that plays as a kind of advantage in a way to be going back rather than rather than always working with, you know, present champions, Carlton Reid 19:14 the people you've written about in their books are clearly flawed heroes. So both both legendary, both died, that that kind of helps if you're going to be a biographer, when somebody is no longer here in many respects, but they're both flawed. So So is that something that naturally attracts a biographer because if you if you're floored by de facto you're kind of more interesting. You know, you're you're you're there's there's chinks in that armour. There's the stuff that a journalist stroke historian can get their teeth into. And most sports people tend to be kind of flawed anyway, you know, there's many psychological studies which show that you know that the absolute top achievers have had some sort of formative bad experience in in their earlier life, which is then forced them to become these, these super men in terms of you know, male sport. So is that something that attracts you the fact that these are flawed heroes you can you can really talk about a flawed here and more than somebody who's squeaky clean. Andy McGrath 20:34 Well, firstly, I think we're all flawed. You're no one's perfect. But the Yes, I completely see what you're saying that these these are top athletes are people who push things to the extremes who, you know, can be quite flawed or extremely flawed, you know. And that's more the thing, but it, there was no middle for Vandenbroucke things were either going fantastic or his confidence was 100%. Or it was the opposite, you know, there seem to be, you know, they will see a sixth gear or a neutral with him. And I think we're all drawn to, to people who push limits that regular human beings wouldn't normally you know, push. Who wouldn't, you know, we we wouldn't want to take you know, 10 sleeping pills, and then down some glasses of wine on a night out, but so there's a kind of, I think there's a slightly vicarious fascination sometimes. But Vanderburgh was also I wouldn't say he was escaping from something, you know, a kind of traumatic incident in his childhood, but it's definitely worth noting that his father was his uncle. He was part of a second dynasty. So his uncle was dubbed the John Louis mercs as Frank would be. Sean Luke, that's right. Race for Persia had some great results. Never quite lived up to that moniker, who Ken and his father who was older than John Luke. So John's brother, John Jack. He was on the cusp of being a pro site because he just signed his his contract. When hit, their father died and he became guardian to John Luke, and John Paul. His brothers, his younger brothers, so his history was snatched away from him before he could do anything about it, and he had to he had to sell off his his father's Frank's grandfather's his basins and toilets and sinks because he was a kind of plumber handyman to shut down the business. So there was a kind of element of his Frank's Father John Jack being being a real driving force for positive and for negative through his formative years, you know, he pushed him so hard, you know, he would, he would follow training with a stopwatch praise was kind of few and far between shows of shows of kind of love work, not not regular at all. And, you know, Frank felt that sometimes you've treated too much as a cyclist and not enough as a son you know, as a as a person. And they had, you know, they had fallings out throughout Frank's life. And, you know, there was also a depression that John Jack had. Or John Paul, maybe it was actually his younger brother. And Frank had that too. So there's a kind of there's a, there's a kind of site genetic, I think, vulnerability to two of, you know, mental health problems that was on show here. So there's that extreme too. And this is what I kind of also find fascinating about not just pro cyclists, but people in general, athletes in general, that when we see them, just seeing when we see them in the Tour de France or tour Flanders, whatever, we're seeing 1% of their life, you know. And for Frank, you know, when he was on the bike, that was a kind of safe place, really, when things are going well. That was his refuge. And it was really like when he wasn't on the bike when he was by himself. And you know, he couldn't be by himself, really, he loved being around people need to be around people to be supervised sometimes. But when he was alone, that was when the problem started, when he had time to think or to do certain misdemeanours or wrong things. That was a problem. And people don't think about that, you know that. Everything really needs to be going well, and in the 99% of your life outside of the bike pace for the bike race to go well. Carlton Reid 24:46 So you mentioned father, son relationship stuff there, which can reminded me that when I was looking at the emails of when we've interacted before, and when you were editor of Rouleur, you actually published I'm getting more into you about, you actually published a ride of my son of coming back from China, in Rouleur, and this is now four or five years back when he did that ride and you, you, you published an account of that ride. But you were with Rouleur for about five years, four years editor? Andy McGrath 25:23 yeah, yeah, every year for nine years and I was here to for five years, you know, which was that was a dream. That was a dream, you know, I was in my mid 20s When I became editor, and I just loved hearing their stories where I'd actually been at cycle sport, which is part of cycling weekly part a part of that IPC Media Group, you know, 15 years ago, that was where I was kind of under under the wing of Ed Pickering, who, who's now the Rouleur editor, you know, I was around all these great writers like Lionel Birnie, and, you know, just learning from them, you know, either by by osmosis or by asking stupid questions, which is a kind of great way to learn. But I've really found I was drawn to longer form storytelling, you know, articles, over 2000 words, long interviews, you know, two, three hours sometimes or, you know, spending a whole day or, or, you know, to with a pro cyclist to really, truly get under their skin, you know, because that's also the media landscape in increasingly at the moment, sometimes, you're given 20 minutes, 25 minutes in a hotel lobby, to write a long feature that's supposed to you know, be chapter and verse about the cyclist. And that's not you know, that's not sufficient. I really was kinda like an entry kind of opened the doors you know, ruler when you said you with ruler that kind of had a special effect, they knew you were gonna do a very thorough, well researched, well written job, which I think really helped. And this is also the last landscape we're in that was, you know, I joined over 10 years ago, and slightly magazines, were more plentiful, were more more profitable. And I still read paper, by the way, I'd never read a Kindle course. And I'm, I'm kind of 35 going on 65 I just like, you know, I'm looking at a bookcase with about 200 books right now. And the same goes for magazines, I just, I'm a magazine guy. And I don't see that changing. And I'm kind of proud of that, because I'm slightly scared that in even in 10 years, Time Magazine might go the way of a vine on and be a collector's item when it really shouldn't be Carlton Reid 27:42 well, Cycling Weekly is older than Liège–Bastogne–Liège. So that was that was 1891. So that presumably, has has a place in the market, almost guaranteed a lot of the other magazines, maybe not so much, and ruler has a place in that is long form. It is something that, you know, the pro riders as well as cycle sport fans will love and look up to because it does go into immense detail and great care, and the quality of the paper, all that kind of stuff. So it's I guess, it's the magazines, in the middle, that that fall between those two kind of different models that are going to suffer. Andy McGrath 28:28 Perhaps, you know, the Rouleur owner told me a few years ago that there was there was going to be survival of the fittest and you know, he's turned out to be right. I think it's also the care you know, the photography and in rural areas, you know, top top notch I think people like that baby surprise, you know, sometimes have little feedback I got as editor, you know, that I could just see the, you know, often the subscription numbers rising and you see the sales figures and I like to think there's a very happy silent majority. And maybe the numbers pull that out that, you know, some people on social media will either go on there to say how fantastic something is, or how appalling it is or that their magazine never arrived, you know, and that's fine, you know, but that's, that's the world we live in. But I'm not even sure about cycling weekly, I've got a huge attachment to that magazine sentimentally. But it could be that that ends up being being an online only presence in 10 years time or you know five years time and I really hope that isn't the case. But that more and more people are reading things on their phones or their tablets. So you know, papers printed so as a find its its place you know, but realised yet definitely one for the connoisseur. Um, and we do crazy thing crazy fun things. You know, I remember taking a crew of photographers and writers to Paris-Roubaix, which is my favourite race. Because Because I said next year we're going to do a whole edition of Rouleur just around Paris-Roubaix. And we designed it with a kind of cobblestone font. And we kind of you know, each story was a sector basically and we did it you know, we were there for a week. We worked bloomin hard. And I think we saw six sectors on the day, which for goes from south to north, took some driving that pushed the limits of the highway code. But it was you know, we, we just had carte blanche to do pretty wild things like you know, we had a Gonzo writer called Mort not bow, who was Danish, who, who who divided opinion, you know, but I've never seen anyone write like that in cycling media, let alone sports media like and he always got the interview, he always ingratiated himself with the biggest names in cycling, you know, and that's what I loved was like different styles make make a magazine, for example, you know, Morton was meant to Morton and Jakob, who we call the crazy Danes is right of geography in a combo for several years, so we're meant to spend two hours with Lance Armstrong in the height of his, you know, scandalous air, I think was 2013 2014. And they ended up spending two or three days I played golf with him, you know, and it was just, yeah, like, the one thing about Rouleur that we wanted to change was that to make it not seem so stuffy or serious, because because we were having a lot of fun making it and we all love cycling, and there's a lot of, you know, humour to be had with it. You know, you might look at the black and white photographs. And you know, think it's been ernest but you know, we tried to change that every now and then. It's Carlton Reid 32:01 clearly it was it was founded in a party in a Guy Andrews but partly with Simon Mottram of a Rapha, so it's like, A, in some ways, like a Rapha, journal it had that certain had that, you know, in the early days, certainly had that Rapha you know, aesthetic. And, and power to its elbow for having that aesthetic, because Simon, you know, absolutely went in it, I can say this into the veins of cycling at that time with with with, you know, a very beautiful magazine. Andy McGrath 32:40 Yeah, he was, you know, he was pivotal to its founding like, along with Guy who, who was the founder, you know, they they saw they saw something different. And they, you know, they put in the money in the effort fearing that no one would buy that first issue which now goes for hundreds on eBay. And, you know, in many ways, it was similar to I think Jacque Waterlase courir magazine in the 50s and 60s, you know, that style and that aesthetic and you know, Guy didn't want any reviews. He wanted to show the cycling that you know, that he loved that also a child with the Rapha aesthetic and their values. And basically, the Rouleur blueprint that he laid out in those first issues is still what Rouleur is, you know, it's you know, in depth interviews, it's photography with a difference. And you ever heard is actually coming up for nearly 20 years. I think it'll be in a couple of years time. And Carlton Reid 33:42 Rapha is 20 years old this year. So that makes me feel old. Because now, I was the first person to report on Rapha's founding on in would have been, it would have been online, I would I probably did a story on bikebiz.com on this, you know, strange aesthetics based, cycled clothing manufacturer, you know, coming in from the advertising world. So I broke the story of Rapha coming in into cycling, and then now it's that 20 years or so their current PR you know, emails me and says, Oh, would you like to do a story on on Rapha being 20 It's like, oh my god, they're 20 and I did a story on them, you know, and it doesn't feel 20 years away. So it's history, as well. So we're kind of coming full circle on on history there. Now on on LinkedIn, you actually say you're one of your career highlights is actually writing for Bicycling. So what why was that a career highlight highlight? Andy McGrath 34:50 Did I say that? Oh, that's good. I just I just wanted to write for you know, one of the tops like a magazine. I've been seeing it all my life. You know, when I went freelance two years ago, that was basically my chance to write for whoever I wanted. And yeah, I'm a fellow fellow news. Now fellow went online. So I just saw this kind of this prestige of writing for for an American publication who, who I always thought, you know, did some really good journalism. And they do. I mean, it's most rigorous fact checking process I've ever had, and they did some beautiful photography, it was a long profile of Peter Sagan in his retirement. Yeah, and I went to Slovakia to see, you know, his family with old friends. And I went to Spain to interview him. And it kind of felt like old school journalism, you know, also that they back you to do that, you know, both in terms of time, word count, and paying expenses. Carlton Reid 35:56 And paying, because that's why I like writing for American magazines is they pay five times more than any British magazine. Andy McGrath 36:06 Yeah, I'm not sure if we should be advertising that this is true. Yeah, saying the Americans taking out lucrative stores. But no, absolutely. Like, that's the thing that I'm not sure why it's five times more. So I understand, you know, the, the kind of living costs, generally speaking, in the US in cycling friendly pockets is probably higher. So, so they were charging more, but five times more. You know, word rates for journalists, and in cycling identity have changed for 20 years, you know, since Rapha's inception, which is kind of sad. It's more of a labour of love than it ever was, and it was still a labour of love 20 years ago. But yeah, like the bicycling and you know, writing for cycling class I've written for basically every Anglophone cycling title in my not so young career now I'm 35. And it's just a pleasure, you know, that something that you know, the teenage me will be super proud of, and you know, that, don't me, it's, it's still proud of, you know, it's something really nice to go in my bookshelf. And it's always new stories and new angles, and well, not new sci fi magazines, really. But I kind of live in hope that I can keep doing that mainly around cycling, but I am you know, one slightly sad thing is that I'm trying to diversify slightly and you know, write about different sports, as well as cycling. Carlton Reid 37:39 I see you on art substack. So that's really diversifying. Andy McGrath 37:45 That's not That's not for profit. That's just for me. I just wanted to ride this is, this is something that I started this year, just going to local galleries and doing short, short reviews, you know, with just to learn about art, and to see what I like what I don't like, you know, I always, you know, I've kind of thought that modern art is a bit pretentious, but I've never really been to see that much. So I thought it could be fun. And it's proven to be fun. But the irony is that my my work deadlines are kind of impinging on my art reviews to the point that I haven't posted anything in about two months, but I will soon for my 20 substack followers. No, it's just fine. You know, you can live in deadlines. And with a bit of stress for so long that it's a nice kind of thing to try to do to, you know, flex some different writing muscles, but also learn about something totally away from sport, which is really the thing that I love. Carlton Reid 38:49 So I want to dig further into that level of cycling and into God is dead, your book. But right now I'd like to go across to my colleague David, who will give us a short ad break. David Bernstein 39:06 This podcast is brought to you by Tern Bicycles. Like you, the folks at Tern are always up for a good outdoor adventure by bike— whether that's fishing, camping, or taking a quick detour to hit the trails before picking up the kids from school. 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Carlton Reid 40:24 So we are back with Andy McGrath and Andy is the well as he's been telling us in the the before the ad break that he's been telling us about his career trajectory through cycling into into now doing an art substack even for the for the fun of it and the hell of it and the learning of it. Which Which sounds fantastic, because I should do that too. I should learn new stuff. But the thing we started this podcast with was with the the anniversary coming up to 25 years since since Frank Vandenbroucke and we can we call him VDB Do you think we can we can really Yeah. Yeah. Or should we say Frank goes to Frank because really it is it's like it's a it is actually an unknown nickname for other people in Belgium isn't is not not just something that's pertinent to him. Andy McGrath 41:23 That's right. There's lots of bands you know something? Yeah, Vanda Carlton Reid 41:27 something. Okay. So VDB we can we can go with that, as we kind of use a shorthand gumming up. So your book 2002. This came out, and he and it's the rise and fall of Frank Vandenbroucke cycling's great wasted talent is the subhead to God is dead. Now God is dead is clearly a Nietzsche reference. Also a reference to when he was coming up when when Frank was coming up through the sport, lots of people treated him as a god. And then in his autobiography, he talks about not being a god, but the very fact that he's saying he's not a God means kind of other people were saying he was a god. So that's, that's a hell of a provocative title for a book. Andy Yeah, absolutely. Andy McGrath 42:25 I just correct you there. It came out in 2022. If it came out in 2002, I would have been 14 and Carlton Reid 42:33 I'm sorry, sorry. 20222. Sorry. Yeah. No, that would have been deep military. Yes. Yes. Yes. Sorry, kind of literal, you Andy McGrath 42:39 know, the spoiler alert as you pointed out earlier as sports which makes it a kind of backwards who done it or you know, what happened to his life when you know, beside nd and also, you know, his friend contemporary or when I went on to wrote a song called Cody is dead. So I just thought it was too there are too many, you know, perfect similarities to not have that title. It does, I suppose it you know, catches the eye, as well, as you know, telling you what happened. And it intrigues and it should stop people in their tracks, you know, make them think, you know, who was this? Cyclists because most people most passing people in bookshops, for example, wouldn't have heard of Frank Vandenbrouke, some people at the time, you know, very briefly, he he was on the cover of pro cycling in the UK, for example, he was in the top three of the world rankings, he was going to be the biggest things since sliced bread on 11 speed. And then and this is the thing that half the book is really the rise of a sporting talent, exceptional sporting promise, despite all his problems, you know, that he had the human for example, he was involved in a in a crash with a rally car when he was four years old. Of all things, you know, in the country lanes where he grew up, and that meant that after a long, long recovery, his left leg was always two centimetres shorter and thinner, and the right leg which you would think will be problematic for for a pro cyclist and it proved to be problematic. You know, often during his career, he was always fighting these knee injuries. But anyway, he he rose up at a time when the stars were older, you know, they were 30 Plus, and they were quite bland in comparison to him. You know, we had Indurain, Rominger, Museuw, and Frank Vandenbrouke was this 20 year old counterpoint who said good things to all the Belgian media and was handsome, you know, he was good looking kid. But he raised with such panache. And he won unusually early unusually often. And for someone that yeah, when he was a junior, he won half his races which is ridiculous for someone who who wasn't a great sprinter either, you know, he he had to attack really to win most of the time. Carlton Reid 45:14 So it's an awful lot of is not just legacy but at the time was he just looked so beautiful on a bike I mean there's there's a little bit of you know, homo-eroticism going on there but he's just he just looked wonderful with you know those those as you're saying those those the legs being shorter and thinner. I hadn't actually noticed that but it just it looks so beautiful on a bicycle. He's just like the dream rider. Andy McGrath 45:42 Yeah, and that's the way that we the most of us wish we could you know, pedal that's like pedalling and in a dream. It's that the French word souplesse. It kind of describes the way that he pedalled you know, with, with no, either body barely moved, didn't move when the back was still when he kind of cycled it was like ballerina esque if that is the right word for a male ballerina probably is. And it was so incongreous, too, because his legs was so thin. You know, they were like pipe cleaners. Really. They weren't particularly muscular. But they were tanned and yeah, like it. It is funny about cycling isn't all Pro Cycling that sometimes it we don't just admire the best riders. With my style, we My grace. For example, I still remember this Russian writer called Mikhail Ignatieff who won a few Olympic goals on the track. And he didn't win any anything of any note, you know, in Tour de France, all the all the big leagues of road racing, but his pedal stroke was just gorgeous, just like you know. I imagine there was no human around years of you know, Russian training in the Velodrome but Carlton Reid 46:55 so that you're definitely getting back to that kind of Rapha aesthetic which, which Simon Mottram tapped into, you know that it's not about always winning. It's sometimes about just looking good and being stylish and having panache. You know, that Tom Simpson also taps into that with his suits and his writing style. Andy McGrath 47:17 Yeah, absolutely. Like, it's not about winning always. It's about how you make people feel. It's about how you bring the fans along with you all, all the media. And there's some riders in their 30s. Now, their favourite cyclists was Frank Vandenbrouke. That 999 the age pastorally. Age is the race of their dreams. I think I'll have an arson who's a former Belgian champion, said he watched it 200 times on replay I feel it was your bet. The great Belgian bike racer, idolise Vandenbrouke, that and there's something it wasn't just results like we can all have, well, not all of us, pro cyclists can have a page on Pro Cycling stats or whatever results. Software, you use that, that shows you what you've won, but it doesn't say anything for how you want it, you know, like with, with daring, long range attacks, like Vandenberg sometimes did, or what you said to the media afterwards, you know, giving them great quotes. And that's part of his charm. And you know, why people wrote books about him in Belgium, although that said, you know, if, if he hadn't been a kind of fatal hero, if he hadn't died so young, it would, it would be a happy a different story. Because Carlton Reid 48:37 there is that Amy Winehouse, you kind of mentioned that, you know, that Marilyn Monroe that kind of that here, who's a die young they stay heroes. So there's there's that element of and Africa somewhere else in your book where you talk about how people couldn't have imagined him getting older anyway. You know, there was that that there was almost a fatalism there. That this is somebody who is, you know, the Icarus figure, you know, burning bright climbing high, that will probably come a cropper like almost wasn't a surprise to many people, the way his his life ended. Unknown Speaker 49:15 Absolutely. I think sometimes that's it's not easy to say that, you know, 10 years after he's died when, you know, after the fact. And the problem was that he had all these issues, he had depression briefly and he became addicted to, you know, cocaine and amphetamines. But he will always find a way out of it that I think a lot of people thought that he would eventually find a way out of his problems, you know, the 10 years from the age when the end of his life in 2009 We were just roller coaster teaser kind of cliche like, but he would always drag himself out. So that's the sadness and and they were under a lot of pain. April, he said to me, there was some regret, you know, in the quotes that his agent pulled the gator that said, when it came to his drug addiction that they were, he compared it to a kind of sinking ship and said that, you know, when they were bailing the water out, they should really be plugged in trying to plug the hole which was quite a kind of poignant quote like I thought so and so one more thing, too We, of course it gets into sad tragic territory, but you know, it's not the kind of misery misery fest biography No, and I found them bro was loved by so many people and charmed and joked around with so many people like, he was a great impressionist, he, he was like a bouncy teenager, really, at the age of 35, still, you know, like, messing around with his roommate, and putting toothpaste on the bathroom mirror. And he had this kind of universal boyishness that people found it very hard to be mad at him, even when he did, you know, quite bad things or selfish things or acted vainly, which he could do. So there's, you know, at the core of it, it goes much beyond the cyclists into this human being who could be lovable, but can also be very frustrating and, you know, do some bad things. Carlton Reid 51:26 So the book is, yes, it's not, you're right. It's not all doom and gloom. But there's an awful lot in there. You can't get away from this about addiction, doping clearly. And then mental health care or lack thereof, in in, in not just in cycling, but in probably in society as a whole. Yeah, like, I Unknown Speaker 51:46 kind of think that. If we look back, even 10 years alone, 20 years, the duty of, of care for professional athletes was really lacking. You know, I think it's really sad that there were top level riders not just Vandenberg, who were going to psychologist or psychiatrist, but we're keeping it strong, you know, because it was seen as so shameful, you know. And to me that shy, that taps into the old school soccer mentality of, you know, the way they used to be the way they used to train, you know, do 300k Drink very little, eat very little. Ride harder, don't complain. And that could work for some people. But that is not a caring way to look up to most people. You know, that's, and that can come back to by many athletes, you know, and I think that's what happened. Vandenbrouke's psychologist probably helped to help him to live longer. You know, that's what he said in his his autobiography. Actually, Vandenbrouke Carlton Reid 52:52 That's Jeff Browers? Unknown Speaker 52:54 Yeah, exactly. And, in fact, he was probably an early kind of adopter of this help that he needed, you know, not just for, you know, the cycling was one thing, but they were trying to cure his kind of addiction problems and is show him that he he was loved, you know, even though he felt abandoned often. And that's the crux of it, that, you know, this need to be loved that I kind of thing most of, well, pretty much all all of us have, whether it's conscious or subconscious. And he always felt unloved or abandoned, despite, you know, the obvious legion of fans that he had and everything else. And that was a tragedy, there are human tragedy. Carlton Reid 53:37 So in your in your book, there's a kind of murder mystery, and to the book, murder, mystery, suicide, whatever. So Jeff, Browers was the psychologist about it, he basically told you that he thinks it was it was it was suicide, because he was, as you've just said that he needs people around and he was quite alone in that grubby hotel room in Senegal. But then other people, family obviously blame the people he was with and don't want to have that association. With with suicide, you don't really come you don't come to a conclusion because you can't really come to a conclusion, especially as it happened in Senegal, where it's kind of difficult to come to any conclusion anyway. But there's, there's various people give their their opinions weighing all that up. What's your opinion? Unknown Speaker 54:40 I don't have to give one you know, like, if it isn't clear, factually, and I can't be certain, but I've laid out you know, that's the job of the biography is to talk to everyone that was close to Vandenbrouke around him at the time. He was actually you know, basically there and include what they said Um, but no. I think that there could be something very well and what you have for hours says, you know, the psychologists who, you know, he was a man who spent hours with him and in that in that room I can see why he would say that. But one of the great, one of the great, strange things about this is, is that mystery like that, you know, Vandenbrouke had never even been to Africa, and he decided to go to Senegal, ye. And this filmic ending, you know, where, whereas you say, a prostitute was the last person to see him alive. So maybe he wanted it to be, you know, clouded in some kind of doubt that it could never be be definitive. But either way, you know what, like, whichever way that he died, it was pretty tragic that that he died, you know, and he's not the only one from that era, either. He had Pantani, you had Jose Maria Jimenez, you know, and I think it's, it's partly a kind of symptom of the doping culture that what they were taking to perform in bike races made it much easier to get into recreational drugs. And both of those things, mess with your mind and your body. And probably your, your, your soul, you know, the core of who you really feel you are and what you're doing, you know, whether you think it's cheating or not that moral maze, it, it can't be easy. I'm there must have been a hot a horrible time to be a pro cyclist. Carlton Reid 56:41 People think of these things doping is a black and white issue. Yet, there's a spectrum here, you know, is I mean, the UCI classifies too many coffees, too many espressos as doping. But, you know, four or five, okay. You know, marginal gains, you know, all these things, which which you can legally do, and yet you somehow trip over a line, if you take this other thing. And the other thing is, is meant to be this evil thing. And that's clearly you know, the wrong thing to do. But vitamin supplements and you know, creatine, all of these things are performance enhancing, why did they not get the stigma that EPO get? So it's a spectrum and addicted, it's very difficult to say this as a black and white thing, when there are many things that can make you better on a bike, including EPO, but then you know, just your energy gel makes you better on a bike, should we be adding energy gels, it's there's very little nuance gets into it talking about doping, it's just black and it's white. Yeah, Unknown Speaker 57:57 when really if you're saying is that it's basically shades shades of grey, you know that the modern game does you're in the peloton is ketones, which are not banned, but they seem to be ethically questionable. And my rudimentary understanding of the science around it is also that no one knows how, how it can affect the career in a few years time or five years time that we might be seeing some writers already suffering from not using them in the right way or overusing them. Well, Carlton Reid 58:35 my wife is a is a diabetes doctor. So she knows about ketones, and she knows about insulin, as well. And insulin was, was clearly one of the things that Frank used to basically say he was going to kill himself and he's going to use insulin to do so. So potentially that was, it's very hard to trace insulin as if you're going to kill yourself with insulin. So potentially, that's, that's, yeah, you're gonna kill yourself insulin is a pretty good way of doing it. Andy McGrath 59:11 Yeah. And you know, why would you why would you take that to Senegal? Or how would you source it? You know, what? He wasn't a diabetic, you know, so. Yeah, I won't give away you know, the ending or, you know, what everyone said about the ending, but, you know, several people were pointing towards suicide, certainly in the book, but yeah, like, I just going back to the grey area of crime doping. I just hope it's a bit more nuanced. Now. The way that people regard dope is like I even think that you know, 10 years ago. It it's really hard. It's very hard, isn't it? Because they have cheated. They have done something wrong, and they've done it knowingly, you know, in probably 99% of cases. Despite the numerous They can excuse. Carlton Reid 1:00:02 Yes, there have been quite a few good ones. False twin Unknown Speaker 1:00:10 Yeah, false twin, pigeon pie, weeks from a Colombian grandmother. It's got Carlton Reid 1:00:17 I bought it for my dog. Okay. Unknown Speaker 1:00:20 Yeah, well, that was bingo. So on the one hand, they are not above appropriate, you know, the rider. They are number one, you know, anything that turns up in their body knowingly or unknowingly, if they're positive, that's that's on them, you know, that's how it is. And I totally get that. But on the other hand, it still seems to me that the culture around doping IE, you know, the people that help them or, or facilitate, you know, people like team doctors, team managers, people in the know, people who are still in the sport, you know, nowadays seem to get away with it, pretty much, often quite, quite scot free. And that's not okay. And I've had, you know, cyclists who were pros in the 80s through to, you know, the last decade, you know, saying a similar thing, but that's a thing that needs to be changed that needs to be snuffed out like the right is kind of like the symptom of a wider problem. And of course, if we knew the answer if the UCI or Wilder knew the answer, you know, anti doping foundations famously have much smaller smaller budgets and maybe even the biggest cycling team in the world they're always fighting kind of a chasing battle they're always you know, one step behind maybe against the latest wonder drug or the kind of latest cheats but I think I can save some some confidence Pro Cycling is is cleaner now than it was in Vandenbrouke's heyday. But I also fear that it'll never be totally clean partly because of human nature partly because of the money was going up and up and partly because of this bizarre kind of will to win this drive is addiction Carlton Reid 1:02:13 Yeah, can even amateur races you know, people have been caught doping that will to win Andy McGrath 1:02:22 Yeah, I mean, that's that's sad in my opinion, you know, if you're, if you're doping to win a category three cap for race. What's the point? You know, Carlton Reid 1:02:32 do you race have you written Have you raced Unknown Speaker 1:02:38 I did a few time trials when I was up at university in York. Beautiful place to ride around there Oh, and I did someone's teenager with the Addiscombe in Croydon that's where I'm from. no great shakes, Carlton. I've never meant to be the next Frank Vandenbroucke much better at writing than riding my bike has put it that way. But Carlton Reid 1:03:08 yeah, you're a rider. Not a racer. So that that that that Colnago that you bought is something that you would ride on a nice day with no mud around so what you're writing normally what's what's if you're not running the Colnago what you're writing Andy McGrath 1:03:33 it's a time XRS I'll steel a nice bike from now not a pub bike. Unknown Speaker 1:03:38 It's a decent bike it was just it just keeps going and it gets me around town if I want to ride in the autumn or winter on the road so I'll use Quickstep used to ride it back in the day me 20 years ago you know Palpatine and all that Carlton Reid 1:03:57 which did you pick that up in your in your magazine days then is that was you kind of like you somehow acquired it back then. Andy McGrath 1:04:07 Well, the thing about me is I'm I'm not I'm no techie I'm really good people that would have seen me trying to fix a puncture back in the cycling weekly office 15 years ago would have realised that immediately now I'm there because I like riding my bike. I just to be completely honest, like I don't know much about bike tech and isn't the most interesting thing about cycling for me, you know, I'm the people that ride the bikes, you know, the pros and all their you know, differences and their opinions and personalities. That's much more interesting to me than say this bike weighs eight kilos or this carbon one weigh 7.5 But that's that's just me, you know, each have their own. Yeah, I'd much rather you know ride a bike then. do the legwork for it, you know, which is but actually need to get better at you know mechanics and changing chains and that kind of thing and maybe on a warm summer's day, I'll just practice doing Carlton Reid 1:05:13 that. That's what bike shops are for. That's my opinion. Now I'm with you. I'm with you on the I'm not fussed about technical stuff I've never really been happy writing about the technical stuff doesn't excite me writing about technical stuff or weighing things and yeah, it's the people that is all the stories that are around it that that are from me, personally. A more interesting. Andy McGrath 1:05:40 Yeah, absolutely. Like, I find it hard to rhapsodise about tech, you know, whereas I can. Yeah, like I kind of wish I was more intrigued by it, but I'm just not, that's just my personality. And the funny thing is, as a former tech magazine, Ed editor, you really you do have to slightly balance the editorial side with not keeping advertisers happy, but keeping them onside. And there was a slight tech element with Rila. But we we did it in our own way with basically treating the bike or the other kit, like a like a model, you know, hanging on trees or oversea wall, or all kinds of crazy sheets. Carlton Reid 1:06:29 So if people want to and we're now wrapping up here, Andy, if people want to get your book and be maybe getting in touch with you or find out what you're doing, where do they find you on websites on on social media? Unknown Speaker 1:06:44 They can find me on X formerly known as Twitter before Elon Musk made it even worse. Yeah, at Andy McGrath, that's a n d, why. MC Gra? So, take off the th basically for my surname. Yeah, they want to buy the book, just any online bookseller, really from from Amazon to Waterstones to Blackwell's to whoever, whoever you like, it's on there. And I'll put Carlton Reid 1:07:19 your art stack substack link in in the show notes. So people can also you know, if they're not interested in cycling, they could they could follow you for your, you know, your your opinions on Anthony Conway says Andy McGrath 1:07:31 the next step comes from me being an expert, what's your, what do you think? Carlton Reid 1:07:39 Well, I guess if you're not into the techie side, you know, and you're just looking at maybe just the people behind these things, rather than the art itself? I don't know. Is that do they? Are you looking at the art itself? What's going to interest you? Andy McGrath 1:07:51 I am mainly looking at the art itself being and that ties into their lives and the era they were in. It's a bit of everything really, you know, if it's modern art that I'm likely to question, you know, how did this make me feel? You know, what do I feel? What does this elicit in me kind of understand how much work is took or, you know, the literal art artistry behind it? That's one element. But, you know, I just went to see Frank Howell back. He's at the Courtauld in London. He's basically the last surviving artist from that Lucien Freud. Francis Bacon set in the 1950s. And I thought it was fantastic and but it's only black and white because he didn't have the money for pain in 1950s, which I've become a pain which is also an insight into a different world, you know, that I'm very fortunate to not be in you know, post World War reconstruction. But anyway, we we digress. Any followers are welcome. Carlton Reid 1:09:02 Yes, no, I'll put that link in. For sure. And to your other things. So Andy, thank you so much for for talking to us on me, us. Andy McGrath 1:09:11 Thank you. Absolute pleasure. Carlton Reid 1:09:15 And that's it for today's show. Thanks for listening to Episode 351 of the spokesmen podcast brought to you in association with Tern bicycles, show notes and more can be found at the-spokesmen.com As I mentioned earlier, the next episode, dropping real soon, will be a chat with cycling writer, Laura Laker. But meanwhile, get out there and ride ...

As she stages a non-stop reading of Hannah Arendt's The Origins of Totalitarianism for five days at the Hamburger Bahnhof in Berlin, Tania Bruguera reflects on growing concerns about the censorship of artists in Germany in relation to the Israel-Hamas war. She also discusses the comments made by Ai Weiwei this week that censorship in the West was now “exactly the same” as in Mao's China. The Courtauld in London this week opened an exhibition of the monumental charcoal drawings made by Frank Auerbach in the 1950s and early 1960s, and we take a tour of the exhibition with the show's curator Barnaby Wright. And this episode's Work of the Week is Mihrdukht Aims Her Arrow at the Ring, a folio from the Hamzanāma (Story of Hamza). Made in India in around 1570, during the Mughal period, it is one of the works acquired by the British painter Howard Hodgkin in a lifetime of collecting Indian art. The collection is the subject of an exhibition at the Metropolitan Museum of Art in New York, which opened this week. Navina Najat Haidar, one of the co-curators of the show, tells us more.Tania Bruguera: Where Your Ideas Become Civic Actions (100 Hours Reading “The Origins of Totalitarianism”), Hamburger Bahnhof – Nationalgalerie der Gegenwart, Berlin, until 11pm on Sunday, 11 February. You can hear a discussion about Hannah Arendt's legacy and her influence on artists in our episode from 15 January 2021.Frank Auerbach: The Charcoal Heads, The Courtauld, London, until 27 May.Indian Skies: The Howard Hodgkin Collection of Indian Court Painting, Metropolitan Museum of Art, New York, until 9 June. And you can hear my interview with Antony Peattie, Hodgkin's partner for the last few decades of his life, about the artist's final paintings, on the episode from 25 May 2018.Offer: you can still buy The Art Newspaper's magazine The Year Ahead 2024, an authoritative guide to the world's must-see art exhibitions and museum openings—many of which were discussed on our podcast from 12 January. Get a print and digital subscription to The Art Newspaper at theartnewspaper.com before the 15th of this month to receive a copy of The Year Ahead with your next printed issue. Or you can buy the magazine on its own on the website for just £9.99 or $13.69. Hosted on Acast. See acast.com/privacy for more information.

ViewWhat are you doing for the environment? It is a question that is at once easy and difficult to answer. We recycle. (Of course we do, we aren't demons.) We don't run the heat very high in the winter or the AC very high in the summer - though, to be honest, there are other factors at play there. I just traded my gas mower in for an electric model. I don't dump old motor oil down the storm drain. Ummm … I'm sure there are other things. But what is the impact? I'm not sure. I am persuaded that a lot of activity comes from a desire to do something - even if the effect is not large. How much is this due to me wanting to classify myself as someone who is taking care of the environment? I'm not completely sure, and I may not be objective - but, probably at least a little. (I think that is where a lot of our collective activity comes from … less about the effect on the world, more about how I think of myself … but that is probably another article.)Just Stop Oil activists affixed themselves to Vincent van Gogh's Peach Trees in Blossom (1889) at the Courtauld Institute in London on June 30th, 2022. “Our initial assessment is that the painting is undamaged. The frame will require treatment to remove glue residue before the work can be returned to display,” a Courtauld representative wrote in an email.   ARTnews.comOther people take more extreme actions in support of the environment. The exerpt above is from an article from last year listing 12 instances of climate activists gluing themselves to classic and irreplaceable works of art to garner attention for the environmental cause. What kind of attention is open to some interpretation. I would have liked to have been a silent witness to the brainstorming session that led to this strategy. It is a strategy, like stopping traffic on a bridge, that seems designed to outrage … if you can't manufacture outrage for your cause, you can manufacture outrage at you. I guess. The question of the real world impact of these actions vs. the self-classification of the protesters arises. That isn't for me to determine, except to wonder what the (positive) real world impact of such protests might be.But what is an appropriate response from me to the issue of climate change? Specifically, as a Christian, what is an appropriate response … what is a Christian response to climate change? Far be it from me to present myself as the last word (or first word) on this subject, but I do have some thoughts on how to address that question. As a Christian, I think the Bible should have something to say (to me) about my answer to this question. If the Bible is God's Word, you could reframe the question as - what does faithfulness to God and His Word have to do with my thoughts, words, and actions with respect to the environment? Or, does God care about the state of His creation and does He want me to respond in a certain way? Whatever the answer to that question is, please notice that it doesn't have a lot to do with politics.The earth is the Lords' and everything in it. Psalm 24:1The LORD God took the man and put him in the Garden of Eden to work it and take care of it.Genesis 2:15That humans are to tend to creation, to ‘take care of it', is pretty clear, biblically. There are passages, like the above, that speak directly to this truth and there are passages that describe our responsibility to steward or manage all that God has entrusted to us - wealth, time, talents, attention … and the planet He gave us to live on. American Christians are divided on what to do with this instruction - both how to carry it out and how to prioritize it amidst all the other possible ways to act redemptively in our world, even for those who are intent on acting redemptively in all ways environmental. … Get full access to The Embassy at theembassy.substack.com/subscribe

The tragic human cost of the bombardment of the Gaza Strip in the Israel-Hamas war is well documented. What is now becoming clear is how many historic buildings and sites have also been destroyed. We talk to Sarvy Geranpayeh, a correspondent for The Art Newspaper in the Middle East, about the fate of heritage in Gaza. As a huge exhibition of the work of Emily Kam Kngwarray, perhaps the most celebrated of all Indigenous Australian artists, opens at the National Gallery of Australia in Canberra, we speak to the show's curators Kelli Cole and Hetti Perkins, about her life and work. And this episode's Work of the Week is a manuscript written by Paul Gauguin just months before he died in French Polynesia—Martin Bailey, our London correspondent, tells us more about the document, which has been acquired by The Courtauld in London.Emily Kam Kngwarray, National Gallery of Australia, Canberra, 2 December-28 April 2024 Hosted on Acast. See acast.com/privacy for more information.

I am so excited to say that my guest on the GWA Podcast is the world-renowned Classics scholar and professor at the University of Cambridge, Caroline Vout! Today we are discussing all sorts of figures in Classics, from Venus to Hermaphroditus. Born in Durham, Vout studied for a BA at Newnham College Cambridge, completed her MA at the Courtauld, and PhD back in Cambridge, where she spent a very formative year as a Rome Scholar at the British School at Rome. Since 2006, she has been based in Cambridge where she is a Fellow at Christ's College. The author of seven formative books that have expanded my mind on the Ancient world, our thinking around gendered bodies, imperfect bodies, and the perception of women through these vessels, from Classical Art: A Life History from Antiquity to the Present to the more recently published “Exposed: The Greek and Roman Body”, Vout has been instrumental in pushing forwarding Classical research. Next year, she will curate a major exhibition at the Fitzwilliam Museum But the reason why we are speaking with Carrie Vout today is because of how her research challenges the ideal forms of the Greek and Roman body. Whereas a body cast in marble or bronze sitting atop a pedestal might be the template that we have – and one that European painters have so often perpetuated through idealised portrayals of men and women – Vout argues this is a lie, and that ancient bodies were in fact anxious, ailing, imperfect, diverse, and in turn, much more like us than we might at first glean. CARRIE'S BOOKS: https://www.waterstones.com/book/exposed/caroline-vout/9781788162906 https://www.waterstones.com/book/classical-art/caroline-vout/9780691177038 https://www.waterstones.com/book/sex-on-show/caroline-vout/9780714122786 -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Curator Dorothy Price outlines the figures of Claudette Johnson, a founder member of the Black British Art Movement (Blk Art Group), and one of the first ‘post-colonials' practicing in Wolverhampton, Birmingham, and the Midlands from the 1980s to now. Ever so-slightly-larger than-life, Claudette Johnson's drawings of Black figures reflect the status of their artist. A founding member of the Black British Arts Movement or BLK Art Group in the 1980s, she was a leading figure in a politically-charged creative community - called the first ‘post-colonials' by Stuart Hall, for being born and raised in Britain. Johnson worked closely with fellow ‘post-Windrush' contemporaries include Eddie Chambers and Keith Piper, Ingrid Pollard and Maud Sulter, Marlene Smith and Lubaina Himid - but her work has been relatively underrepresented. As the artist's first public monographic exhibition opens in London, curator Dorothy Price talks about her practice in the Wolverhampton Young Black Artists Group - which predated the YBAs - and formative speech in the First National Black Arts Conference in 1982. Dorothy shares personal insights from the groundbreaking ICA exhibition, The Thin Black Line, and Claudette's complex position as a Black European artist of African and Caribbean descent. Drawing on the Courtauld's permanent collection, we see the artist's work with African masks, sculptures, and conventional representations of Black women, challenging the colonial foundations of Western European modernism, and reappropriating the ‘Primitivism' of the likes of Pablo Picasso and Paul Gauguin to state her place in art history. We also discuss her contemporary practice, and how the history of the Black British Arts Movement can decentre the contemporary ‘Brixtonisation' of the singular Black experience, drawing attention to cities in Wolverhampton, Birmingham, and the Midlands. Claudette Johnson: Presence runs at the Courtauld Gallery in London until 14 January 2023. For more, you can read my article. For more about Keith Piper, hear curators Jake Subryan Richards and Vicky Avery on Black Atlantic: Power, People, Resistance (2023) at the Fitzwilliam Museum on EMPIRE LINES: pod.link/1533637675/episode/a5271ae2bc8c85116db581918412eda2 For more on Ingrid Pollard, hear the artist on Carbon Slowly Turning (2022) at the Turner Contemporary on EMPIRE LINES: pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4 For more about the ‘Brixtonisation' of the Black British experience, listen to artist Johny Pitts on Home is Not A Place (2021-Now) at The Photographers' Gallery on EMPIRE LINES: pod.link/1533637675/episode/70fd7f9adfd2e5e30b91dc77ee811613 For more on Hurvin Anderson, hear Hepworth Wakefield curator Isabella Maidment on his Barbershop (2006-2023) series on EMPIRE LINES: pod.link/1533637675/episode/5cfb7ddb525098a8e8da837fcace8068 Recommended reading: On Lubaina Himid: gowithyamo.com/blog/the-revolutionary-act-of-walking-in-the-city On Maud Sulter: gowithyamo.com/blog/reclaiming-visual-culture-black-venus-at-somerset-house On Sonia Boyce: gowithyamo.com/blog/feeling-her-way-sonia-boyces-noisy-exhibition On Life Between Islands at Tate Britain: artmag.co.uk/the-caribbean-condensed-life-between-islands-at-the-tate-britain/ WITH: Professor Dorothy Price, Professor of Modern and Contemporary Art and Critical Race Art History at The Courtauld, London. She is also Editor of Art History, journal of the Association for Art History, and founder of the Tate/Paul Mellon Centre's British Art Network subgroup on Black British Art. Dorothy is the co-curator of Presence. ART: ‘And I Have My Own Business in This Skin, Claudette Johnson (1982)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

Claudette Johnson 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. Johnson, who was born in 1959 in Manchester, UK, and now lives in London, has created some of the most powerful figurative art of recent years. Working primarily in what she has called the “very small, twisted space offered to Black women”, she uses drawing and painting together in works that are bold yet sensitive, imposing in scale and intimate in their handling. She subverts the conventions of portraiture in her dramatic approach to composition and pose and in foregrounding the figure's presence in the viewer's space rather than establishing the context in which they are depicted. As a result, she confronts the historic invisibility, distortion and denial of Black subjects, and particularly Black women, in art. She discusses her discovery of Picasso's Les Demoiselles d'Avignon at university and how it has proved both inspirational and problematic. She reflects on the huge importance of Lubaina Himid to her early career and the recent resurgence in her work. She recalls the impact of Toni Morrison's fiction on her subject matter. And she eulogises Paula Rego's approach to pastels, a key element in her work. Plus she answers our usual questions, including the ultimate: what is art for?Claudette Johnson: Presence, The Courtauld, London, 29 September-14 January 2024; Women in Revolt! , Tate Britain, 8 November-7 April 2024; The Time is Always Now, National Portrait Gallery, 22 February-19 May 2024. She has a solo presentation at The Barber Institute in Birmingham, UK, opening in late March and is taking on a commission from Art on the Underground in London, scheduled for November 2024.For web article: Hosted on Acast. See acast.com/privacy for more information.

Hannah Courtauld is a registered clinical psychologist and holds a Bachelor of Arts with First Class Honours in Psychology from The University of Western Australia and a Masters Degree in Clinical Psychology from Curtin University. Hannah has worked as a Clinical Psychologist in the UK for the NHS, where she was trained to assess autism using the ADOS-2.Hannah talks to James and Timmy about the developments in Australia around clinical psychology and the use of Psilocybin among other topics in this area. Help us help others by joining our Patreon...Why not become a Patron of the Two Norries to help us help you and others? We're always happy to receive donations which all go towards bills, production costs, maintenance and everything else it takes to keep the podcast alive. Two Norries Podcast Hosted on Acast. See acast.com/privacy for more information.

As we head into the summer holidays, we're turning back time to the early 20th century to explore the world with a very well-heeled couple. Stephen and Virginia Courtauld lived at Eltham Palace in southeast London, but when they weren't in residence, which was often during the British winter, they could be found cruising the world in luxury on board ocean-going liners or their own private yacht. And their well-documented travels provide a fascinating insight into the lifestyles of the 1930s wealthy elite and an era before commercial flights had gone mainstream. Taking a trip with us — and the Courtaulds — is English Heritage's properties historians team leader Dr Andrew Hann. To read more about the Courtauld's travels, go to https://www.english-heritage.org.uk/courtaulds-cruises To read more about Eltham Palace or plan a visit, go to www.english-heritage.org.uk/eltham.

Francesca Gavin joins Robert Bound to review German artist Anselm Kiefer's new exhibition at White Cube Bermondsey, ‘Finnegans Wake'. Plus: we meet the curators behind a new exhibition in which all is not as it seems.See omnystudio.com/listener for privacy information.

This episode is also available as a blog post: https://hazelstainer.wordpress.com/2017/01/13/the-courtauld-a-history-of-art/

Toby Courtauld chats with Andrew Teacher, reflecting on 20 years at the helm of one of London's largest office landlords, GPE, and what the next decade might bring for the real estate sector.

Episode Notes We're back and this week we're getting spooky and ECTOGASMIC with Dr Emma Merkling. Emma is an Art Historian at the Courtauld specialising in in late C19th history of art, science and occultism. Emma is “Just a creepy weirdo who lik es creepy weird stuff”. In this episode we chat about racist ghosts, squirting spiritualists, and what it's like to be a Spooky Terrifying Ect oplasm Mama (aka a woman in STEM). We consider the production of ectoplasm and/as the female orgasm, discuss the pros and cons of automatic writing for REF submissions, and question whether or not x-rays can be used for upskirting? Also as women in SHAPE we consider why orbs are so important for mediums. You can check out the podcast Emma co-hosts with LOL My Praxis superfan, Dr Christine Slobogin, here https://drawingbloodpod.wordpress.com/ or follow her @EmmaMerkling. If you fancy playing with stereographs you can come along to Emma's event at the Courtauld on November 14th https://courtauld.ac.uk/whats-on/science-in-the-seance-room-stereographs-medical-men-and-the-testing-of-margery-crandons-extraordinary-body-c-1925/

In this episode we are joined by Alexandra Gerstein, McQueens Curator of Sculpture and Decorative Arts at The Courtauld and artist Sophie-Nicole Dodds to discuss the most recent Illuminating Objects internship, as well as touring The Courtauld Gallery highlights. Courtauld Cast is produced by novel for The Courtauld Institute of Art and generously supported by Bloomberg Philanthropies. Thanks to our producers, Harry Cooke and Claire Crofton and executive producer, Jo Wheeler, and a special thanks to Julie Rose Bower. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

In this episode we are joined by Turner Prize winning artist and alumnus Jeremy Deller to learn more about a recent project to rethink Manet's A Bar at the Folies-Bergère with our Young People's Programme managed by Helen Higgins. Courtauld Cast is produced by novel for the Courtauld Institute of Art and generously supported by Bloomberg Philanthropies. Thanks to our producers, Harry Cooke and Claire Crofton and executive producer, Jo Wheeler. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

In this episode we are joined by Chief Conservator at The Courtauld, Graeme Barraclough and Reader in Italian Renaissance Art, 1400-1500, Dr Scott Nethersole to discuss the revelations, the discoveries, the hidden imprints of Sandro Botticelli's ‘Trinty Altarpiece' revealed through its recent conservation, and technical and scientific examination at The Courtauld. Courtauld Cast is produced by novel for the Courtauld Institute of art and generously supported by Bloomberg Philanthropies. Thanks to our producers, Harry Cooke and Claire Crofton and executive producer, Jo Wheeler, and a special thanks to Julie Rose Bower. See acast.com/privacy for privacy and opt-out information.

Welcome to Courtauld Cast! In this our first episode we discuss the relaunch of the Courtauld Gallery following its ambitious transformation to make our world-class artworks, research and teaching accessible to even more people. Guests include Barnaby Wright, Deputy Head of The Courtauld Gallery and Daniel Katz Curator of 20th Century Art; Karen Serres, Curator of Paintings and Chris Watson Co-director of our appointed architects Witherford Watson Mann. Hosted by Professor Alixe Bovey, Dean and Deputy Director; Head of Research The Courtauld Institute of Art. Courtauld cast is produced by novel for the Courtauld Institute of art and generously supported by Bloomberg Philanthropies. Thanks to our producers, Harry Cooke and Claire Crofton and executive producer, Jo Wheeler. See acast.com/privacy for privacy and opt-out information.

This week's text is about Munch's paintings, a lil walk through of when i went to see the masterpieces from Bergen show at the Courtauld and had a really nice time read it here: thewhitepube.com/art-reviews/munch/ and thank you, as usual, to friends on Patreon!

EPISODE 32 of 'All About Art': Interview with Alayo Akinkugbe, founder of A Black History of Art In this episode, I had the joy of sitting down with Alayo Akinkugbe, the founder of an Instagram account that has been a game changer - Alayo founded A Black History Of Art in 2020 and she did so with the aim of providing a more diversified overview of art history when she realized that she hadn't been taught about ONE black artist throughout her whole first year studying History of Art at Cambridge. The account has now amassed over 55 thousand followers, highlighting the overlooked Black artists, sitters, curators, and thinkers from art history to the present day. Within this episode, Alayo and I speak about her education at Cambridge and the Courtauld in London, but we also dig deep into how she feels that the account has affected her career. We also talk about her professional trajectory, and how what she has learned through her education in art history and curating, as well as her work within decolonizing the sector, has impacted what type of work she wants to do later on. Stay tuned to listen to Alayo and I get up close and personal with some deep-rooted issues in art and society, but also tune in to hear us talk about the hope we have for the sector, and how fun it can be. Thank you Alayo for coming on All About Art! You can follow the instagram account here: https://www.instagram.com/ablackhistoryofart/ You can support All About Art on Patreon here: https://www.patreon.com/allaboutart ABOUT THE HOST: I am an Austrian-American art historian, curator, and writer. I obtained my BA in History of Art at University College London and my MA in Arts Administration and Cultural Policy at Goldsmiths, University of London. My specializations include contemporary art, specifically feminism and artificial intelligence in artistic practice, as well as museum policies and arts engagement. Here are links to my social media, feel free to reach out: Instagram @alexandrasteinacker Twitter @alex_steinacker and LinkedIn at Alexandra Steinacker-Clark COVER ART: Lisa Schrofner a.k.a Liser www.liser-art.com

Pandora Papers..........In February, a commentary from the Tony Blair Institute for Global Change urged policymakers to seek, among other measures, higher taxes on land and homes................ Princess Anne, 71, was accompanied by just one member of office staff, stayed in budget hotels, and even packed her own suitcase during her whirlwind trip to Australia and Papua New Guinea. Édouard Manet's 1882 work A Bar at the Folies-Bergère is one of the paintings that received a new label at the Courtauld, because it depicts a barmaid standing opposite a male customer and the woman's expression is 'unsettling'. Spain's civil guard is investigating a private taxidermy collection with more than 1,000 stuffed animals - including 405 from protected species and at least one extinct specimen - was discovered at a warehouse in Valencia.

Pandora Papers..........In February, a commentary from the Tony Blair Institute for Global Change urged policymakers to seek, among other measures, higher taxes on land and homes................ Princess Anne, 71, was accompanied by just one member of office staff, stayed in budget hotels, and even packed her own suitcase during her whirlwind trip to Australia and Papua New Guinea. Édouard Manet's 1882 work A Bar at the Folies-Bergère is one of the paintings that received a new label at the Courtauld, because it depicts a barmaid standing opposite a male customer and the woman's expression is 'unsettling'. Spain's civil guard is investigating a private taxidermy collection with more than 1,000 stuffed animals - including 405 from protected species and at least one extinct specimen - was discovered at a warehouse in Valencia. The covid-19 pandemic has deprived us of many things, including expressions of affection and physical contact, which have so many benefits for physical and mental health. Now that it seems that the masks will no longer be mandatory, perhaps we can bring them back. This is how trees in cities affect spring allergies Sergio Fuentes Anton, University of Salamanca ............Large cities do not protect us from suffering the effects of pollen on human health. Moreover, the appearance of new green areas could increase the number of allergic people in the coming years if the appropriate species are not planted. Countertops, utensils, blenders, can openers, sink drains, cloths, cutting boards, sponges and scouring pads... Kitchens are full of possible hiding places for a multitude of microorganisms that can cause infections and illnesses. A proposal drawn up by Michael Gove's Department for Levelling Up, Housing and Communities will force councils to put road name changes to a public vote, over fears that campaign groups could otherwise force through controversial changes without majority support....... .

"the first driverless train was introduced in 1863"

In this episode Lauren and Chris catch up on their creative projects from commissioned paintings to the launch of Lauren's Patreon. Then they dive in to Vincent Van Gogh, whose exhibition of self-portraits at the Courtauld in London has sparked musings and insights. From immersive experiences to the "meme" of Van Gogh, there is a lot to unpack.Check out Lauren's Patreon at:https://www.patreon.com/laurenstarotCheck us out on Instagram at:https://www.instagram.com/laurenpiemont/https://www.instagram.com/chrisclampart/https://www.instagram.com/avartclub/

EPISODE 24 of 'All About Art': Interview with Natalia Fuller, Associate Director of Galerie Max Hetzler In this episode, I sit down with the Associate Director of Galerie Max Hetzler in London, Natalia Fuller. I ask her about her education and career, more specifically about her courses at UPenn and the Courtauld, as well as her previous experiences at the Institute of Contemporary Art in Philidelphia and Lisson Gallery in London. We chat about her role at Galerie Max Hetzler today and how artists can seek gallery representation. Listen in to hear the tips that she would give those wanting to enter into the arts, as well as what her role is with Saloon, the all-female networking group run by her and other leading ladies in the arts. Stay tuned to hear us chat all about navigating the art world through professional experiences, career advice, and more. Thank you Natalia for coming on All About Art! You can follow Natalia here: https://www.instagram.com/nataliafuller_art/ Explore the exhibitions at Galerie Max Hetzler: https://www.maxhetzler.com/ More information on Saloon: https://www.saloon-network.org/ ABOUT THE HOST: I am an Austrian-American art historian, curator, and writer. I obtained my BA in History of Art at University College London and my MA in Arts Administration and Cultural Policy at Goldsmiths, University of London. My specializations include contemporary art, specifically feminism and artificial intelligence in artistic practice, as well as museum policies and arts engagement. Here are links to my social media, feel free to reach out: Instagram @alexandrasteinacker Twitter @alex_steinacker and LinkedIn at Alexandra Steinacker-Clark COVER ART: Lisa Schrofner a.k.a Liser www.liser-art.com

The British photographer Anthony Kersting was the most prolific and widely travelled architectural photographer of his generation. He travelled extensively across the Middle East throughout the 1940s and 1950s to document the architecture and people of the region. And upon his death in 2008, he donated his archive – containing some 42,000 photographic prints and negatives – to the Conway Library at the Courtauld Gallery in London. On this episode of the PastCast, Tom Bilson, Head of Digital Media at the Courtauld, discusses a new exhibition showcasing a selection of Kersting's photography from Kurdistan. He also describes the digitisation project currently being undertaken to preserve the Conway Library's extensive archive for future generations. Bilson spoke with regular PastCast presenter, Calum Henderson. Kersting's work is the subject of a short article in the latest issue of Minerva magazine, out now in the UK, and which is also available in full on The Past website. The Past brings together the most exciting stories and the very best writing from the realms of history, archaeology, heritage, and the ancient world. You can subscribe to The Past today for just £7.99. If you enjoyed this podcast, please consider liking it, subscribing, and sharing it around.

We talk about Nadya Wang's brilliant analysis of the work of photographer Yip Cheong Fun and the amazing style of Cab Calloway and the Nicholas Brothers. See links below. Nadya Wang, ‘Framing the Body: Yip Cheong Fun and Singapore Photography in the 1960s and 1970s', part of ‘Addressing Images, The Courtauld (28 January 2022): https://www.youtube.com/watch?v=0grnWoBZXok Fred Waller (director), Cab Calloway's Hi-De-Ho (1933): https://www.parkcircus.com/film/109262-Cab-Calloway's-Hi-De-Ho and https://www.youtube.com/watch?v=spBLdH5mtyk Fred Waller (director), Jitterbug Party (1934): https://www.parkcircus.com/film/109355-Jitterbug-Party and https://www.youtube.com/watch?v=mMQVZYoNWIw Billy Wilder (director), Some Like It Hot (1959): https://www.imdb.com/title/tt0053291/ Andrew L. Stone (director), Helen Rose (costume design), Stormy Weather (1943): https://www.imdb.com/title/tt0036391/ Clip from Stormy Weather (1943): https://cabcallowayfoundation.org/cab-calloway-bill-robinson-nicholas-brothers-stormy-weather/ Cab Calloway at the Smithsonian: https://www.si.edu/search/collection-images?edan_local=&edan_q=cab%2Bcalloway& Cab Calloway on the Zoot Suit, Docs & Interviews on MV (20 March 1986): https://www.youtube.com/watch?v=G-3JuVFJrY8 Dave Fleischer (director), Willard Bowsky and Ralph Somerville (animators), Betty Boob - Minnie The Moocher (1932): https://youtu.be/N7VUU_VPI1E

Hear all the music on our rolling playlist: https://bit.ly/CultBunk EMMY, BRIT and BAFTA award winning composer Howard Goodall tells us about his new remembrance cantata ‘Unconditional Love', a career of composing pretty much every memorable British comedy theme tune ever, Brexit's effect on musicians and much more. Howard joins guest Sophie Harris plus Alex and Jelena (for the first time) to explore the many folds of Joanna Hogg's The Souvenir Part II – a movie about a movie within a movie about a movie, Cate Le Bon's latest album, Pompeii, plus we head into the Courtauld to find out what's behind their new exhibition Van Gogh Self-Portraits. “Streaming should have democratised music. But there's very few people at the party.” – Howard Goodall “Cate le Bon's Pompeii refers to a life interrupted. It's the perfect lockdown album.” – Sophie Harris “Young people have sacrificed a lot to keep us alive during COVID. Now we must pay them back by listening to them.” – Howard Goodall  Written and presented by Alex Andreou and Jelena Sofronijevic. Audio production by Alex Rees. Theme music: ‘Bunker Theme (Juntos Mix)' by Kenny Dickinson. Group Editor: Andrew Harrison. The Culture Bunker is a Podmasters production. Learn more about your ad choices. Visit megaphone.fm/adchoices

Van Gogh's self portraits have defined our sense of his inner life. As a new exhibition gathers many of them together for the first time, The Courtauld's Curator of Paintings, Karen Serres and the art historian, Martin Bailey join Tom Sutcliffe to consider what they reveal about an artist we feel we know so well. Director Joanna Hogg tells Tom about the making of the sequel to her semi-autobiographical 2019 film The Souvenir, starring real life mother and daughter, Tilda Swinton and Honor Swinton Byrne. Mark Rylance stars in Dr Semmelweis, a new play at the Bristol Old Vic about a pioneering doctor who struggled to make the establishment heed his warnings about hand hygiene. Professor Tim Cook, a consultant intensive care doctor in Bath gives his verdict on the play. Presenter: Tom Sutcliffe Producer: Tim Prosser IMAGE: Self Portrait as a Painter by Vincent Van Gogh (December- February 1888) CREDIT: Van Gogh Museum Amsterdam, Vincent Van Gogh Foundation

This is Art Sense - a podcast focused on educating and informing listeners about the past, present and future of art. I'm Craig Gould.This week on the podcast I thought we could take a look at the shows that are on the horizon for 2022. The list includes historical retrospectives, contemporary gallery shows, biennales and even a hotly anticipated museum opening. 26 exhibits in all, we'll start with those shows that have already opened and work our way out.Pipilotti Rist: Big Heartedness, Be My NeighborMuseum of Contemporary Art, Los AngelesSept 12, 2021 - June 6, 2022https://www.moca.org/exhibition/pipilotti-ristJasper Johns: Mind/MirrorWhitney Museum of Art and the Philadelphia Museum of ArtSept 29, 2021 - Feb 13, 2022https://whitney.org/exhibitions/jasper-johnsAndy Warhol: Revelation Brooklyn MuseumNovember 19, 2021 - June 19, 2022https://www.brooklynmuseum.org/exhibitions/andy_warhol_revelationBlack American PortraitsLACMA November 7, 2021 – April 17, 2022https://www.lacma.org/art/exhibition/black-american-portraitsKehinde Wiley: The Prelude London's National GalleryDecember 10, 2021 - April 18, 2022https://www.nationalgallery.org.uk/exhibitions/kehinde-wileyFrancis Bacon: Man and BeastRoyal AcademyJanuary 29, 2022 - April 17, 2022https://www.royalacademy.org.uk/exhibition/francis-baconYves Saint Laurent aux MuséesMusée d'Art Moderne de Paris, Centre Pompidou, Musée d'Orsay, Musée National Picasso Paris, Musée Yves Saint Laurent Paris, Musée du LouvreJanuary 29 - May 15 (closes April 15 at Musée Picasso)https://museeyslparis.com/en/exhibitions/yves-saint-laurent-au-5-avenue-marceauCharles Ray: Figure GroundMetropolitan Museum of Art January 31 - June 5https://www.metmuseum.org/exhibitions/listings/2021/charles-rayVan Gogh Self PortraitsThe Courtauld GalleryFebruary 3 – May 8https://courtauld.ac.uk/whats-on/van-gogh-self-portraits-22/Faith Ringgold: American People New Museum February 17 - June 5https://www.newmuseum.org/exhibitions/view/faith-ringgold-american-peopleSurrealism Beyond BordersTate ModernFebruary 24 – August 29https://www.tate.org.uk/whats-on/tate-modern/exhibition/surrealism-beyond-bordersDonatello, the RenaissancePalazzo Strozzi and Museo del Bargello, Florence; Gemäldegalerie, BerlinMarch 19 - July 31 (Florence); September 2 - January 8, 2023 (Berlin)https://www.smb.museum/en/exhibitions/detail/donatello/Barbara Kruger: Thinking Of You. I Mean Me. I Mean You. Los Angeles County Museum of ArtMarch 20 - April 17https://www.lacma.org/art/exhibition/barbara-krugerBeepleJack Hanley Gallery, New YorkMarch 2022https://www.jackhanley.com/150 Years of MondrianKunstmuseum den Haag, the Hague, Netherlands April 2 - September 25Fondation Beyeler, Riehen, Switzerland June 5 - October 9K20, Düsseldorf October 29 - February 10, 2023https://www.fondationbeyeler.ch/en/exhibitions/mondrianWhitney BiennialWhitney Museum of American ArtApr 1 - Aug 1https://whitney.org/exhibitions/the-biennialJean-Michel Basquiat: King PleasureStarrett-Lehigh Building in ChelseaOpens April 9 https://kingpleasure.basquiat.com/RaphaelNational Gallery in London9 April – 31 July 2022https://www.nationalgallery.org.uk/exhibitions/the-credit-suisse-exhibition-raphaelThe Venice BiennaleApril 23 - November 27https://www.labiennale.org/enHenri Matisse: The Red StudioMuseum of Modern Art May 1 - September 10https://www.moma.org/calendar/exhibitions/5344CezanneArt Institute of Chicago May 15 - September 5 Tate Modern October 6 - March 12, 2023 https://www.artic.edu/exhibitions/9288/cezanneCornelia ParkerTate Britain18 May – 16 Octoberhttps://www.tate.org.uk/whats-on/tate-britain/exhibition/cornelia-parkerDocumenta FifteenKassel, GermanyJune 18 - September 25https://documenta-fifteen.de/en/The Space Between: The Modern in Korean ArtLos Angeles County Museum of ArtSeptember 11-February 19, 2023https://www.lacma.org/Lucian Freud: New PerspectivesThe National Gallery in London1 October 2022 – 22 January 2023https://www.nationalgallery.org.uk/exhibitions/the-credit-suisse-exhibition-lucian-freud-new-perspectivesTutankhamun: Treasures of the Golden PharoahGrand Egyptian MuseumNovember 2022https://grandegyptianmuseum.org/

This episode is also available as a blog post: https://hazelstainer.wordpress.com/2018/11/30/courtauld-impressionists/

Plus The glories of the renovated Courtauld gallery and a scary Christmas ghost story at Wilton's Music Hall We're visiting: Chris Levine: 158 Hz Love Frequency, a solo exhibition by Chris Levine at Houghton Hall Thursdays, Fridays and Saturdays only from 4.30 till 9.00 Till 23rd December https://www.houghtonhall.com The Courtauld Gallery https://courtauld.ac.uk We're booking; The Child in the Snow by Piers Torday, based on Elizabeth Gaskell's ghost story The Old Nurse's Story Wilton's Music Hall Till 31 st December https://www.wiltons.org.uk Produced by Audio Coast

If you're from an art history, fine art or scientific background - or have an interest in any of those subjects - this one is for you. Have you considered turning your hand to art conservation? Lucy Fellows studied the MA Conservation of Easel Paintings at The Courtauld in London. In this episode of Future You, she gives us a fascinating insight into the world of art conservation, what inspired her to choose a postgraduate course in this field, and the career pathway it opens up. Visit www.prospects.ac.uk/postgraduate-courses to search for postgraduate courses. Email podcast@prospects.ac.uk with any feedback, questions or comments. A transcript of this episode will be available at: www.prospects.ac.uk/podcasts

A MISSION TO OPEN UP AND RENOVATE. Deborah Swallow has been Märit Rausing Director of The Courtauld Institute of Art & its Gallery since 2004.

We have our first conservatoire taking part in the competition with RNCM taking on Dundee University. Except for Courtauld's magnificent run two seasons ago, we haven't seen too many specialised institutions make it past the first round. However, RNCM excellent display despite Dundee's brilliant performance means that they could get a second chance.We also talk about Paxman's extra levels of shade, the nature of the British Royal Family, and how Harry Potter is older than you think it is...

This week is the final episode in our four-part mini-season with Portman Marylebone. Ending on a high, Aleks sits down with Charlie Casely-Hayford, the owner and creative director at esteemed British menswear brand, Casely-Hayford London. Fellow fashionistas will doubtless know that Charlie inherited the brand from his father, the late, great, Joe Casely Hayford OBE, who sadly passed away in 2019 and was one of the most influential British designers of his generation.Today, Charlie is continuing to evolve the business in his father's stead and speaks to Aleks about how the brand continues to be informed ‘by a conversation between father and son'. We also touch on the brand's deft blending of high fashion and tailoring craft and explore how Charlie finds inspiration in both high and low culture – and everything in-between.If you enjoy listening, don't forget to follow us on Instagram @handcutradio, and get involved in the conversation. Please do rate and review us on Apple Podcasts, or subscribe to HCR on Spotify – either action helps to boost us up the podcast charts and is very much appreciated by the HCR team!---HandCut Radio is produced by Birch, the London based creative office of James Allen. Our theme music is by Joe Boyd.This episode is produced in partnership with Portman Marylebone, an elegant central London retail destination that is home to many of the city's most characterful restaurants, galleries and independent fashion brands. Portman Marylebone has been meticulously maintained by the Portman Estate for just under 500 years.---Show Notes:Charlie Casely-Hayford — Instagram | WebsitePortman Marylebone — Instagram | Website[03:45] FT | How to wear a suit now[08:20] Dazed & Confused Magazine[08:22] I-D Magazine[08:48] Virgil Abloh[08:54] Abloh-isms (book)[09:35] Gieves & Hawkes[22:24] Central Saint Martins[22:58] The Courtauld[29:03] ACNE Studios[30:38] Mark Cho on HandCut Radio[31:38] Jazziunf on Spotify

We discuss the publication of Archivist Addendum - unboxed live on the podcast - and the first title in the new book series Fashion: Visual & Material Interconnections: Alison Toplis’s The Hidden History of the Smock Frock. See links below. Archivist Addendum: Fashion Interpretations: https://tenderbooks.co.uk/products/archivist-addendum Fashion Interpretations: https://sites.courtauld.ac.uk/fashioninterpretations/ Blaak: https://www.showstudio.com/contributors/blaak The Courtauld, ‘Fashion: Visual & Material Interconnections Book Series Launch’ (21 May 2021): https://youtu.be/AANXmdpT7aE Alison Toplis, ‘The Hidden History of the Smock Frock’, Bloomsbury (2021): https://www.bloomsbury.com/uk/the-hidden-history-of-the-smock-frock-9781350126114/ Alison Toplis’ Instagram: https://www.instagram.com/smockfrock98/ Smocks at The Museum of English Rural Life, Reading: https://tinyurl.com/phnumvb6 Luce Moyse Ferreira, ‘Danger in the Path of Chic: Violence in Fashion between the Wars’, Bloomsbury (2021): https://www.bloomsbury.com/uk/danger-in-the-path-of-chic-9781350126299/ Alexis Romano: Prêt-à-Porter, Paris and Women: A Cultural Study of French Readymade Fashion, 1945-1968, Bloomsbury (2022): https://www.bloomsbury.com/uk/pret-a-porter-paris-and-women-9781350126190/

Tune in to this week's episode of Kusochek to hear Lara interview Muscovite Denis Stolyarov, a PhD graduate of The Courtauld institute, London who is active in the contemporary art world and knows all there is to know about late Soviet and early post-Soviet artistic movements. Denis describes how he went from studying the London Victorians in Moscow to the Moscow Conceptualists in London and gives his optimistic predictions for the art world and creative production post-corona. Denis also gives a fantastic Russian recommendation for the week which could be talked about for an entire separate episode! Find Denis: https://www.instagram.com/denis_stlr/ Find Lara: https://www.instagram.com/lolszowska/ https://uclpimedia.com/online/the-window-seat-st-petersburg Find us via: https://www.russianartandculture.com/ https://www.instagram.com/rusartculture/ https://twitter.com/RusArtCulture https://www.facebook.com/RusArtCulture/ Music by Alexandr Solodchenko

For episode 15 Anna is joined by the London based sculpture and painter Rafaela De Ascanio. Rafeala makes coil puts and abstract oil paintings, within her work she looks to create worlds which are inspired by sci fi, art history, the plants and performance art. She studied a Foundation at CSM and then went onto study Art History at the Courtauld, she feels that her time studying Art History actually took her away from her practice which she has now come back to making art. As a child she lived on the Canary Islands, but for years didn't go back however when she was pregnant she felt this desire to return to her home and to where her family are from. She is inspired by the mixtures of cultures, festivals and landscapes. The colours of the island you can often see mirrored in her paintings where she creates these unique worlds. Rafaela is currently exhibited in Back To Back with Nettle Griller by Bowes Parris Gallery and is co curated by Anna Woodward and Cassandra Bowes. To see the exhibition please visit Bowes Parris Gallery website to learn more about the exhibitions and artists.

This is a 4 part podcast series by National Museums NI, hosted by Curator of Art, Anna Liesching, which looks at exhibitions held in the Ulster Museum through the prism of the art of printmaking. In this episode, Anna chats to Dr Rachel Sloan, Assistant Curator of Works on Paper at The Courtauld, London, about the Ulster Museum’s latest exhibition, ‘Renoir and the New Era’, curated by Anna and which explores the Impressionists by taking Renoir’s masterpiece ‘La Loge’ as its centrepiece, alongside accompanying works on paper from the Ulster Museum’s collection. Anna and Rachel discuss prints in the exhibition, the place of printmaking in Impressionism and how important an artwork’s title can be for understanding its meaning. For a full audio tour of Renoir and The New Era, take the Smartify tour here or download the Smartify app. For further information on the artists and artworks discussed, follow the links below. Links Chicago Institute of Art  https://bit.ly/31wiQFG The Courtauld https://bit.ly/3od7WhI Courtauld Collections https://bit.ly/2HnQVAS Witt library https://bit.ly/3ofJEn8 Jacques Callot in The Courtauld collection https://bit.ly/3dPeQVy William Hogarth in The Courtauld collection https://bit.ly/3jkG4om Queue in front of butcher shop https://bit.ly/2XhIUmH Woman at a Window (1871-72) Edgar Degas (included Sickert’s anecdote in label) https://bit.ly/3jhFRlP Execution of the Emperor Maximillian Lithograph, Édouard Manet   https://bit.ly/2FPfF48 Berthe Morisot (1872) Edouard Manet (1832-1883) Ethcing  (in exhibition)  https://bit.ly/39RiJ95 Berthe Morisot with a Bouquet of Violets Edouard Manet (1832-1883) painting https://bit.ly/34pgjix Berthe Morisot (1872) Edouard Manet (1832-1883) Lithograph https://bit.ly/37sstJj Berthe Morisot drawing, with her daughter (1889) Berthe Morisot (1841-1895) (in exhibition) https://bit.ly/2wl4tHK Young Woman reclining  (1889) Berthe Morisot (1841-1895) (in exhibition) https://bit.ly/3e1su7R Marry Cassatt https://bit.ly/3kk4DTG Market at Gisors Camille Pissarro (1830-1903) (in exhibition) https://bit.ly/3aSGVsN An example of a Degas Monotype https://bit.ly/3kmwDpH Kermis at Hoboken (1559) Pieter Bruegel the Elder (ca. 1525-1569) original drawing https://bit.ly/31tcMNV Canaletto’s etchings of Venice https://bit.ly/34iJdR6

This week: like the rest of the art world, the market has been upended by the pandemic. But has the turmoil forced it to be any more transparent? Do we know any more about the actual price of art? Ben Luke is joined by Georgina Adam, an editor-at-large at The Art Newspaper and art market specialist, to discuss transparency and the market. Also this week, we talk to David Blayney Brown, the curator of Turner’s Modern World, a new show at Tate Britain in London. And in this episode’s Work of the Week, the artist John Stezaker talks about a grisaille painting, Christ and the Woman Taken in Adultery, by Pieter Bruegel the Elder, in the Courtauld collection but currently on display at the National Gallery in London. See acast.com/privacy for privacy and opt-out information.

In this episode of In the Foreground, Caro Fowler (Starr Director of the Research and Academic Program at the Clark Art Institute) speaks with art historian Gabriele Finaldi, who since 2015 has been Director of the National Gallery in London. A specialist of Renaissance and Baroque art, Gabriele previously served as Deputy Director of the Prado for over a decade. In this conversation he describes his early interest in the discipline and his graduate studies at the Courtauld, why he was moved to work on Jusepe de Ribera, and the particular power of drawing as a medium. More broadly, Gabriele and Caro discuss the evolving roles of education and the science of conservation within modern museums, and reflect on new directions for historical and collections-based museums today.

Welcome to August Issue of the Oldie podcast.George Courtauld, a former Queen's messenger and bestselling writer of The Travels of a Fat Bulldog, has penned a delightful piece about discovering his grandmother Daisy Dobell's diaries in his attic.He speaks to The Oldie's editorial assistant Ferdie Rous about his grandmother: her childhood, why she earned the nickname – 'Naughty Daisy' – and her close friendship with her cousin the poet, Eva Dobell.Courtauld's book, a collection of his grandmother's diaries, Daisy's Diary 1888-1900 was published in April.

Au sommaire : L'instantané de la semaine Les chroniqueurs évoquent la photo marquante de la semaine et proposent cinq mots clefs sur le compte Instagram de l'émission. Une collection fantastique C'est la nouvelle exposition de la Fondation Vuitton. La collection Courtauld, le parti de l'impressionnisme est consacrée aux oeuvres rassemblées par Samuel Courtauld, un des grands mécènes du XXe siècle. Manet, Cézanne et Van Gogh sont quelques-uns des artistes qui composent cet ensemble. On en parle avec Jean-Paul Claverie, conseiller spécial de Bernard Arnault. « La Miséricorde de la jungle » Le réalisateur rwandais Joël Karekezi a remporté l'Étalon d'or de Yennenga à l'occasion de la 26e édition du Fespaco. Son film « La Miséricorde de la jungle » sort en salles dans les différents espaces de la francophonie. Young Gods, le retour Comme son nom ne l'indique pas, The Young Gods est un groupe de rock électronique suisse originaire de Genève. Après huit ans de silence, la formation musicale signe son retour avec un nouvel album « Data Mirage Tangram ». Invité : Jean-Paul Claverie, conseiller spécial de Bernard Arnault. Présentation : Guillaume Durand. Avec la participation de Michel Cerutti (RTS), Sylvestre Defontaine (RTBF), Myriam Fehmiu (Radio-Canada), Laura Tenoudji (France Télévisions), Estelle Martin (TV5MONDE), Yves Bigot (TV5MONDE). Depuis la Fondation d'entreprise Louis Vuitton à Paris.

This week Geoff Lowsley joins me in the studio to talk about his current position as the Collection Manager for the iconic fashion designer, Valentino and also for Giancarlo Giammetti. Geoff takes care of both Mr Valentino and Mr Giammetti’s artworks in a number of locations around the world, including on their yacht. We discuss what Geoff's job entails and how his studies in archaeology and working at the Courtauld lead him to this role. The Valentino Garavani Museum can be accessed here: http://www.valentinogaravanimuseum.com/ Any enquiries/questions about this podcast or about Christie’s Education can be emailed to podcasts@christies.com Follow us on: Twitter: @ChristiesEduLDN Facebook: @ChristiesEduLDN Instagram: @christiesedu Thank you to Connor Allen, Cornah Willis and Aileen O’Riada for helping to record this podcast. and Christopher Fitzmaurice and Connor Allen for editing this podcast.

How Samuel Courtauld’s collection ignited Britain’s passion for Impressionists. Plus, New York’s Metropolitan Museum looks at Armenia, the first country to convert to Christianity. Produced in association with Bonhams, auctioneers since 1793. See acast.com/privacy for privacy and opt-out information.

In 1930, British explorer Augustine Courtauld volunteered to spend the winter alone on the Greenland ice cap, manning a remote weather station. As the snow gradually buried his hut and his supplies steadily dwindled, his relief party failed to arrive. In this week's episode of the Futility Closet podcast we'll follow Courtauld's increasingly desperate vigil on the ice. We'll also retreat toward George III and puzzle over some unexpected evidence. Intro: Rudyard Kipling hid messages in his illustrations for the Just So Stories. In the early 1900s, Danes bred pigs colored to resemble the Danish flag. Sources for our feature on Augustine Courtauld: Nicholas Wollaston, The Man on the Ice Cap, 1980. Mollie Butler, August and Rab, 1987. "Augustine Courtauld," Encyclopedia Arctica (accessed July 23, 2017). "Augustine Courtauld," Oxford Dictionary of National Biography (accessed July 23, 2017). "The British Arctic Air Route Expedition," Geographical Journal 76:1 (July 1930), 67-68. "British Air Route to the Arctic Regions," Science, New Series, 72:1857 (Aug. 1, 1930), 108-109. "Swedish Flier Ready to Hop for Greenland to Rescue Courtauld, Young British Explorer," New York Times, April 27, 1931, 4. Svend Carstensen, "Ahrenberg to Start Rescue Flight Today," New York Times, April 29, 1931, 12. Svend Carstensen, "Ahrenberg on Way to Save Courtauld, Lost in Greenland," New York Times, April 30, 1931, 1. "Rescuers Race to Locate Lost Arctic Explorer," China Press, May 2, 1931, 13. E. Lemon, "Plane in Greenland to Hunt Courtauld," New York Times, May 3, 1931, 2. Percy Lemon, "Ahrenberg Ready to Fly to Ice Cap," New York Times, May 5, 1931, 6. "Courtauld Hunted by Sea, Air And Land: Area of Great Arctic Search," New York Times, May 8, 1931, 12. "Courtauld Rescued," Los Angeles Times, May 8, 1931, 3. Percy Lemon, "Courtauld Is Found Safe on the Greenland Ice Cap," New York Times, May 8, 1931, 1. Albin Ahrenberg, "Ahrenberg to Guide Courtauld To Camp," New York Times, May 9, 1931, 1. Percy Lemon, "Courtauld Back Safely on Greenland Coast," New York Times, May 12, 1931, 1. H.G. Watkins, "Courtauld Search a Surprise to Him," New York Times, May 14, 1931, 12. "Courtauld Buried in Igloo 2 Months," Associated Press, May 15, 1931. "Arctic Burial Escape Told," Los Angeles Times, May 15, 1931, 4. "Courtauld Tells Story of Long Imprisonment," China Press, May 15, 1931, 1. "Rescued From Greenland's Icy Cap," Sphere 125:1634 (May 16, 1931), 278. "Courtauld to Sail Home on First Ship," New York Times, May 17, 1931, 2. T.J.C. Martyn, "Greenland Is Still a Scientific Puzzle," New York Times, May 24, 1931, 4. Augustine Courtauld, "Courtauld's Story of the Five Months He Spent on Ice Cap," New York Times, May 29, 1931, 1. "The Ice-Cap Hero," New York Times, May 30, 1931, 8. "The British Arctic Air Route Expedition," Geographical Journal 77:6 (June 1931), 551-554. "From the Four Winds: Mr. Courtauld's Arctic Vigil," China Herald, June 30, 1931, 459. "The British Arctic Air Route Expedition," Geographical Journal 78:3 (September 1931), 291. F.S. Chapman, "Watkins and Aides Held in No Danger," New York Times, Sept. 19, 1931, 17. "Explorers Return From Greenland," New York Times, Nov. 14, 1931, 8. William Goodenough, Augustine Courtauld, Lauge Koch, J.M. Wordie, and H.R. Mill, "The British Arctic Air Route Expedition: Discussion," Geographical Journal 79:6 (June 1932), 497-501. Percy Cox, Helge Larsen, Augustine Courtauld, M.A. Spender and J.M. Wordie, "A Journey in Rasmussen Land: Discussion," Geographical Journal 88:3 (September 1936), 208-215. Henry Balfour, E.C. Fountaine, W.A. Deer, Augustine Courtauld, L.R. Wager, and Ebbe Munck, "The Kangerdlugssuak Region of East Greenland: Discussion," Geographical Journal 90:5 (November 1937), 422-425. "Augustine Courtauld Dies at 54: Explored Greenland in Thirties," New York Times, March 4, 1959, 31. L.R. Wager, "Mr. Augustine Courtauld," Nature 183:4666 (April 4, 1959). Quintin Riley, "Obituary: Augustine Courtauld 1904-1959," Geographical Journal 125:2 (June 1959), 286-287. Ronald Porter, "Lady Butler of Saffron Walden,'" Independent, April 1, 2009. Listener mail: Matthew J. Kinservik, Sex, Scandal, and Celebrity in Late Eighteenth-Century England, 2007. Chris Best, "Watch: Hungry Bear Opens Fridge, Rummages Through Home," wkrg.com, July 6, 2017. "NC Bear Opens SUV Door, Climbs Inside and Destroys It," wncn.com, July 8, 2017. Mark Price, "NC's Bears Are Now Opening Car Doors, Leading to Strange Driveway Encounters," Charlotte Observer, July 9, 2017. "Bear and the SUV," Sylva Herald, June 21, 2017. This week's lateral thinking puzzle was devised by Sharon. Here are three corroborating links (warning -- these spoil the puzzle). You can listen using the player above, download this episode directly, or subscribe on Apple Podcasts or Google Play Music or via the RSS feed at http://feedpress.me/futilitycloset. Please consider becoming a patron of Futility Closet -- on our Patreon page you can pledge any amount per episode, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website or browse our online store for Futility Closet merchandise. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!

Mary Rozell discusses the UBS Art Collection which holds 30,000 works of art in the bank's offices around the world. Rozell's team curates and conserves the art it owns and acquires on the primary market additional works from artists and dealers around the world. In this podcast, Rozell discusses the unique nature of UBS's art collection and her thoughts on guiding it into the future. Mary Rozell has been an advisor to collectors, artists and estates on legal and strategic issues relating to the acquisition, management and deaccessioning of private art collections. An art lawyer with a master’s degree in modern art from The Courtauld, she was until recently the Director of Art Business at Sotheby’s Institute of Art – New York. Rozell has also served as the director and/or consultant to several major private art collections, as well as Managing Director of the Swiss Institute – Contemporary Art in New York and Curator/Director of the European Studio Programme for the ACC Galerie in the city of Weimar, Germany. While living in Berlin for almost a decade, Rozell was also the German correspondent for The Art Newspaper, a curator of contemporary art and a consultant to galleries and Villa Grisebach Auctions. She has written and lectured extensively about Berlin’s emerging art scene and architectural landscape, and is the author of numerous journal articles, catalogue essays and translations.

  Susanne Regina Meures Susanne and I talk about her new film Raving Iran, freedom, the politics of fear, oppression and the power of friendship. Trailer   Synopsis Directed by Susanne Regina Meures, a Swiss filmmaker, the documentary addresses the hardships of following your dreams for two local DJs Anoosh and Arash. They are extremely passionate about pursuing dance music and are “tired of hiding from the police and their stagnating career." In order to follow their heart, they "organize one last manic techno rave under dangerous circumstances in the desert.” The Iranian government has banned Western music, among other things, which has lead to cultural oppression in the country. “When Anoosh is arrested, there seems to be no hope left. But then they receive a phone call from the biggest techno festival in the world. Once landed in Switzerland, the haze of the instant euphoria evaporates quickly when the seriousness of the situation starts to dawn on them.” Biography Susanne was born in the West of Germany and studied photography and history of art at The Courtauld in London and film at the Zurich University of the Arts. She worked for numerous print publications before moving to film. Raving Iran is her first feature length documentary. ---------- Please visit my website for more information on my podcasting, writing and public speaking. With thanks to producer Josh Snethlage and Mixed Media Sound     See acast.com/privacy for privacy and opt-out information.

Courtauld Institute student and arts writer Aindrea Emelife reflects on the current neglect of Surrealism in the art world – and considers what significance the movement might still hold for today’s young rebels See acast.com/privacy for privacy and opt-out information.

Mignon Nixon, Professor at the Courtauld, are in conversation with artist Jeremy Deller and journalist Robin Denselow, whose Newsnight film of IRA prisoners inspired Hamilton’s The citizen. Audio recording.