Podcasts about courtauld institute

This episode of Subtext & Discourse Art World podcast is brought to you by AIPAD and The Photography Show. AIPAD represents fine art photography galleries around the world and is proud to present the 2025 edition of its flagship event, The Photography Show. The fair will showcase photography from the earliest processes to cutting-edge contemporary work that pushes the boundaries of the medium, from April 23 – 27 at The Park Avenue Armory in New York City. Go to www.aipad.com/show for more information and to plan your visit.   The Association of International Photography Art Dealers (AIPAD) encourages public support of fine art photography through education and communication by enhancing the confidence of the public in responsible photography collecting. First organized in 1979, AIPAD and its current members span the globe with members in North and South America, Australia, Europe and Asia. AIPAD has become a unifying force in the field of photography and is dedicated to creating and maintaining high standards in the business of exhibiting, buying and selling photographs as art. - AIPAD official website https://www.aipad.com/ - Follow AIPAD on Instagram https://www.instagram.com/aipadphoto/ - Talks programme by AIPAD on YouTube https://www.youtube.com/@aipadphoto - AIPAD On Collecting Photography guide https://www.aipad.com/collecting   Sophie Wright is the Executive Director at Fotografiska New York, a position held since April 2022. Prior experience includes serving as Global Cultural Director at Magnum Photos from October 2003 to October 2020, where responsibilities encompassed developing and delivering global cultural programs, business development, and managing large-scale sales initiatives. Sophie Wright also worked as a Creative Consultant at Sophie Wright Consulting from 2002 to July 2011, focusing on strategy and communication for creative projects. Earlier roles include Deputy Editor and Gallery Manager at PLUK Magazine and Witness Gallery, and Non-Executive Director/Project Manager at MMAN Ltd. Sophie Wright holds a BA in Modern History from the University of Oxford and an MA in Art History from The Courtauld Institute of Art. - Fotografiska Global official website https://www.fotografiska.com/ - Follow Sophie Wright on Instagram https://www.instagram.com/wrightsophie/ and Fotografiska Global https://www.instagram.com/fotografiska/ - Fotografiska talks and presentations on YouTube https://www.youtube.com/@fotografiska.global   Andra Russek is a certified member of the Appraisers Association of America specializing in the field of fine art photography. She has been working in her field since 2000 when she became the assistant in the conservation department at the George Eastman House, Museum of Photography.  She continued her work at Swann Galleries, New York as a Specialist from 2002 – 2005. In 2005 she joined the Photographs Department at Sotheby's New York as a Specialist/Senior Cataloguer. In her role at both auction houses she catalogued and valued photographs for four to six sales per year. At Sotheby's she worked on important sales including Important Photographs from The Metropolitan Museum of Art, Including Works from the Gilman Paper Company Collection and Photographs from the Private Collection of Margaret W. Weston. Andra is currently the Director of Scheinbaum & Russek Ltd., a gallery specializing in 20th century and contemporary photography. - Scheinbaum & Russek Ltd. official website https://www.photographydealers.com/ - Membership page on AIPAD https://www.aipad.com/member/scheinbaum-russek-ltd - Follow Scheinbaum & Russek Ltd. on Instagram https://www.instagram.com/scheinbaumrussek/ - Straight Talk on Collecting Photography https://www.youtube.com/@scheinbaumrussekltd8037   Michael Dooney https://beacons.ai/michaeldooney This episode of Subtext & Discourse Art World Podcast was recorded on 18. March 2025 between Perth (AU) and New York (US) with Riverside.

Anna BottinelliPresidente e membro del consiglio di amministrazione della prestigiosa Monuments Men and Women Foundation. https://www.monumentsmenandwomenfnd.org/È stata fondata nel 2007 da Robert M. Edsel, autore di molti libri sull'argomento, incluso il best seller “Monuments Men: Eroi alleati, ladri nazisti e la più grande caccia al tesoro della storia” (Sperling&Kupfer, 2015).La Monuments Men Foundation ha ricevuto la National Humanities Medal dal Presidente degli Stati Uniti d'America per il suo eccellente lavoro svolto nel campo delle discipline umanistiche.The Monuments Men Foundation for The Preservation of Art Restituzione, Formazione e TutelaLa missione della Fondazione ruota intorno a tre obiettivi principali:– la ricerca delle opere d'arte ancora mancanti dalla Seconda guerra mondiale e la loro restituzione ai legittimi proprietari;– la messa a disposizione del proprio materiale d'archivio e la creazione di percorsi educativi ai fini di facilitare l'insegnamento dell'importanza della protezione dei beni culturali durante i conflitti del passato, ma anche e soprattutto del presente e futuro; il potenziamento del proprio ruolo di ente super partes che monitora le azioni nel campo della tutela del patrimonio culturale e restituzione di beni illecitamente sottratti durante la Seconda guerra mondiale da parte di altre istituzioni governative e private.La Fondazione può essere contattata per richieste di assistenza alla ricerca e di carattere generale all'indirizzo info@monumentsmenfoundation.org. Lo staff della Fondazione è in grado di prestare assistenza anche in lingua italiana. Scoprite di più sulle attività promosse dalla Fondazione su www.monumentsmenfoundation.orgAnna Bottinelli, nata e cresciuta a Firenze, in Italia, ha conseguito la laurea triennale in Storia dell'arte con lode presso la John Cabot University di Roma. Nel 2011, ha conseguito il Master in Storia dell'arte presso il Courtauld Institute of Art di Londra. Dopo la laurea, Anna Bottinelli ha ricoperto il ruolo di ricercatrice italiana principale di Robert M. Edsel per il suo bestseller, “Saving Italy: The Race to Save a Nation's Treasure from the Nazis“.(Un libro di eccezionale valore, che raccomandiamo a tutti di leggere)  Nel 2014, ha ottenuto un incarico di ricerca a tempo pieno presso la Monuments Men and Women Foundation (allora Monuments Men Foundation for the Preservation of Art), a Dallas, in Texas. Entro il 2017, è passata a posizioni di leadership senior e nel dicembre 2019 è stata nominata nuova presidente della Fondazione, succedendo a Robert Edsel. Durante il suo mandato alla Fondazione, Anna Bottinelli ha supervisionato numerose restituzioni di beni culturali a privati ​​e musei in Europa. Ha anche lavorato come consulente per “Hunting Nazi Treasure”, una serie di documentari investigativi in ​​otto parti prodotta da Saloon Media nel 2017. Il programma continua ad andare in onda su American Heroes Channel di Discovery, History Channel-Canada e Canale Focus in Italia, con ulteriori future trasmissioni pianificate a livello internazionale.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Ceri speaks to art collectors Darryl de Prez and Victoria Thomas about their art collection, their approach to collecting and their views on why the art world needs to start recognising the true cost of art. They share their 30 year journey from meeting at the Courtauld Institute to building a stunning contemporary art collection. They talk about how their home has become an intimate evolving gallery, reflecting their commitment to supporting artists and living with art in a very personal way. KEY TAKEAWAYS Art collecting for Darryl de Prez and Victoria Thomas isn't about investment or status but about supporting artists' practices and living with work that continues to reveal new meanings over time. They've never sold a piece and loan works freely to exhibitions. The couple prioritises work with layers beyond aesthetics, pieces that intrigue, unsettle and challenge them. They're drawn to art that feels slightly sinister or mysterious, with an absence of humanity that creates a space for potential. Their collection evolved organically from individual purchases to collaborative decisions. They often recognise instantly when a piece speaks to them both, sometimes watching video works repeatedly before deciding to acquire them. Gallery relationships are crucial to their collecting. They value gallerists who educate them about artists and provide insight into practices, acknowledging galleries' vital role in supporting artists. They buy work regardless of medium, from paintings to video installations. They embrace artists who work across different disciplines. They respect artists' evolving practices, believing an artist's distinctness remains recognisable even as their medium changes. When hanging work in their home, they initially placed pieces wherever space allowed but now arrange more thoughtfully, discovering that works naturally develop relationships and conversations with each other across themes and concepts. Budget constraints shape their collecting, typically spending under £5,000 per piece and relying on galleries' payment plans. They've noticed financial barriers can prevent artists from continuing their careers. The couple wishes the art world would recognise the true cost of creating art and compensate artists fairly. They advocate for supporting artists' ‘thinking time’ and value art for its own sake, not just for economic benefit. BEST MOMENTS "We're attracted to work where aesthetics are important, but there needs to be something behind it, something that intrigues, that takes you further than the surface image." "I spent a lot of time exploring all these items and creating a fantasy world around them. I think that's why with art, I'm very interested in things that are speculative narratives and realities." "The joy of living with art is that you can experience it in a way you can't if you're looking at it in a museum. Works change with the light, they change with the time of day, they change with my mood." "When Adham thanked us for buying his work because it enabled him to do further work, that got rid of all my bourgeois guilt about acquiring art." "We find it incredibly moving to know that our interest in someone's work has enabled them to further develop ideas and make work they otherwise wouldn't have been able to do." "The collection starts to have a mind of its own and it kind of dictates what you buy. We can see a work and think, 'we really love this,' but it wouldn't work with the other work we have." "I think artists should be realistic about what the true costs are for presenting art to the public in a way that is wonderful and serious and meaningful." EPISODE RESOURCES PODCAST HOST BIO With over 30 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Build Relationships The Easy WayOur self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/**** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative.

Nestled deep in the heart of Beijing, the Forbidden City stands as one of the world's greatest architectural marvels. Built in the early 15th century as the secretive seat of imperial rule, it's the largest palace complex anywhere in the world, and the biggest wooden structure on earth. But how did an audacious coup lead to the construction of this mysterious compound? What was life like inside the gated city? And how did it survive revolution, civil war, invasion, and natural disasters, to remain relevant even today?   This is a Short History Of The Forbidden City. A Noiser Production, written by Sean Coleman. With thanks to Dr Stephen Whiteman, a Reader in the Art and Architecture of China at The Courtauld Institute of Art.  Get every episode of Short History Of a week early with Noiser+. You'll also get ad-free listening, bonus material, and early access to shows across the Noiser network. Click the Noiser+ banner to get started. Or, if you're on Spotify or Android, go to https://www.noiser.com/noiser-plus Learn more about your ad choices. Visit podcastchoices.com/adchoices

Next month, the German artist Anselm Kiefer will be 80, and the first of a number of shows internationally to mark this landmark moment opened this week at the Ashmolean Museum, Oxford, UK. It focuses on his early works, and Ben Luke visits Oxford to discuss this pivotal moment in his career with Lena Fritsch, the curator of the exhibition. The latest edition of the biennial in the United Arab Emirate of Sharjah opened earlier this month. The Art Newspaper's correspondent Dale Berning Sawa visited during opening week and spoke to Sheikha Hoor Al Qasimi, the president and director of Sharjah Art Foundation, which runs the biennial, about this year's edition, her journey in art, and her role in establishing the biennial as a leading art world event. And this episode's Work of the Week is Portrait of Mateu Fernández de Soto (1901) by Pablo Picasso, a painting from the artist's Blue Period. Conservators at The Courtauld Institute in London have discovered an image of a mystery woman hidden beneath this portrait of De Soto, Picasso's friend and fellow artist. We talk to Barnaby Wright, deputy head of The Courtauld Gallery, about the painting and the image beneath it. The work features in a new exhibition at the gallery, Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection.Anselm Kiefer: Early Works, Ashmolean Museum, Oxford, UK, 14 February-15 June; Anselm Kiefer: Where Have All the Flowers Gone, Van Gogh Museum and the Stedelijk Museum, Amsterdam, 7 March-9 June; Kiefer / Van Gogh, Royal Academy of Arts, London, 28 June-26 October; Anselm Kiefer: Becoming the Ocean, Saint Louis Art Museum, US, 18 October 2025-25 January 2026To carry, the 16th Sharjah Biennial, until 15 June 2025.The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection, The Courtauld Gallery, London, 14 February-26 May.The Art Newspaper's book The Year Ahead 2025, an authoritative guide to the year's unmissable art exhibitions, museum openings and significant art events, is still available to buy at theartnewspaper.com for £14.99 or the equivalent in your currency. Buy it here. Hosted on Acast. See acast.com/privacy for more information.

Bosco Sodi: https://www.instagram.com/studioboscosodi/?hl=enhttps://www.boscosodi.com/Alberto Rios de la Rosa: https://www.instagram.com/ariosdel/?hl=enCasa Wabi: https://casawabi.org/en/Mater Website: https://mater.digital/Mater Instagram: https://www.instagram.com/mater________/?hl=enBosco Sodi is an artist known for his richly textured, vividly coloured large-scale paintings. Born in Mexico City. Bosco Sodi has discovered an emotive power within the essential crudeness of the materials that he uses to execute his paintings. Focusing on the spiritual connection between the artist and his work, Sodi seeks to transcend conceptual barriers. In 2014 he founded the non-profit art centre Fundacion Casa Wabi in Mexico's Puerto Escondido. Alberto Ríos de la Rosa is a Mexican art historian. He currently serves as a curator at the PAC ART Residency in Houston and as curator of the International Biennial of Artsand Cultures of Antioquia for the World 2025, Colombia. His academic background includes a Master's in Art History from The Courtauld Institute of Art, London (2014), and a Bachelor's in Art History and French Literature from Macalester College, Minneapolis (2011).From 2014 to 2023, he worked as a curator at the Casa Wabi Foundation, where he curated solo exhibitions for artists like Daniel Buren, Michel François, Harold Ancart,Jannis Kounellis, Ugo Rondinone, Izumi Kato, Huma Bhabha, and Claudia Comte. He also directed the residency program in Puerto Escondido, Oaxaca and Tokyo, facilitating participation of over three hundred art professionals from around the world in community projects. Additionally, he promoted emerging Mexican artists through thefoundation's exhibition platform in Mexico City.Previously, he was part of the curatorial teams at Museo Tamayo in Mexico (2011- 2013), the Minneapolis Institute of Arts in the United States (2011), and the PeggyGuggenheim Collection in Venice (2010). Through his work, he continues to make significant contributions to the field of art history and curation, fostering cultural exchange and promoting both established and emerging artists on an international scale.Fundación Casa Wabi is a non-profit, civil association that fosters an exchange between contemporary art and local communities in three locations: Puerto Escondido, Mexico City, and Tokyo. Casa Wabi statement: "Our name originates from the Japanese philosophy of Wabi-Sabi, which seeks beauty and harmony in the simple, the imperfect and the unconventional. Our mision is focused on forging social development through the arts, which we carry out through five key programs: residencies, exhibitions, clay, films, and mobile library. Casa Wabi is located on the Pacific coast, 30 minutes from the Puerto Escondido airport, Oaxaca. Set between the mountains and the sea, our headquarters have been designed by Japanese architect Tadao Ando and under the initiative of Mexican artist Bosco Sodi. Our facilities include a multipurpose palapa, six separate bedrooms, two closed studios and six open studios, a screening room, / auditorium, a 450 m² exhibition gallery and various workspaces that make it an ideal place to recharge and interact with other artists." Hosted on Acast. See acast.com/privacy for more information.

On this week's Haunting Season-themed Local Legends episode, the second of four, Martin gathers round the Three Ravens campfire with the acclaimed actor, art historian, and expert in classic ghost stories Robert Lloyd Parry.In case you've not heard of him, since 2005 Rob has been engaged in "The M.R. James Project," a set of performances where Rob, dressed and in character as 'The Father of the Modern Ghost Story,' performs James' terrifying tales to much acclaim, including from the likes of The Times and Sunday Times, The Washington Post, The Guardian, The Fortean Times, The Spectator, and The New Yorker, who said of the M.R. James Project, “Lloyd Parry's mastery of the role is itself an act of possession.”That's not to say Rob is a one trick pony – far from it. He read Classics at Oxford, completed his MA in Greek and Roman Art History at The University of London's Courtauld Institute of Art, and, as an art historian and museum interpreter, he researches and writes websites, audio and multimedia guides, apps, books, and guides for leading museums, galleries and heritage sites including the likes of The British Museum, Tate Britain, The National Gallery, The Fitzwilliam Museum, Royal Academy, and many, many more. In this interview, we focus in on M.R. James and classic ghost stories, discussing writers like Algernon Blackwood, H.G. Wells, H.P. Lovecraft, Charles Dickens, Arthur Conan Doyle, Oscar Wilde, and many others. What makes them so brilliant, and which of their tales would Rob recommend? Moreover, what made M.R. James such a special, singular writer whose influence on weird fiction is probably greater than any writer of the last 200 years?Gather close around the Three Ravens campfire as we get into it, and if you would like to see Rob live (an experience which highly recommend) do visit his theatre company's website and check his upcoming dates at https://www.nunkie.co.uk/scheduleOtherwise, we'll be back on Monday with our third trio of Haunting Season original ghost stories for 2024. So, see you then. We'll be the ones hiding in the shadows... The Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays (Magic and Medicines about folk remedies and arcane spells, Three Ravens Bestiary about cryptids and mythical creatures, Dying Arts about endangered heritage crafts, and Something Wicked about folkloric true crime from across history) plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon, too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?Learn more at www.threeravenspodcast.com, join our Patreon at www.patreon.com/threeravenspodcast, and find links to our social media channels here: https://linktr.ee/threeravenspodcast Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Writers Salon: Bohemia Theme – Brought to You from the Colony Room Green, London Welcome to the first-ever Writers Salon, hosted at the Colony Room Green, an artist-run bar in London. The theme was Bohemia, with tales of 1980s art models, 19th-century stage acts, clubbing in Tenerife, and a famous musician dying in hospital. Thanks to all the amazing writers who participated; our next event will be on November 11th. Featured Writers: Kristin Burniston Kristin Burniston, an MA Screenwriting graduate from University of the Arts London, has had her short film scripts TREE and HAIRY MARY selected by festivals like City of Angels and Best-Script London. Kristin is working on a children's animation, a crime fiction TV series, and a feature film based on her novel. Lindsay Gillespie Lindsay Gillespie, from South Wales, now resides in the South Downs. She has lived in New Delhi, Washington DC, France, and Tokyo, where she taught English. A Costa 2021 Short Story Award finalist, she was also a finalist for the 2022 Bridport Short Story Prize, with stories shortlisted in Fiction Factory, Exeter, and Oxford Flash Fiction. Find her on Twitter @LindsGillesp14. Darren Coffield Darren Coffield, an artist and author, studied at Goldsmiths, Camberwell School of Art, and Slade School of Art. His exhibitions have appeared at the Courtauld Institute and National Portrait Gallery. His books include Tales from the Colony Room and Queens of Bohemia, which celebrates the brilliant women of Soho. He shared readings from Queens of Bohemia. Goran Baba Ali Goran Baba Ali, a writer and journalist, has published in Kurdish, Dutch, and English. His debut English-language novel The Glass Wall draws from his experience as an ex-refugee from Iraqi Kurdistan. He is the founder of Afsana Press. Miki Lentin Miki Lentin completed an MA in Creative Writing at Birkbeck and was a finalist for the 2020 Irish Novel Fair with Winter Sun. His short stories have been published in Litro and Story Radio. He released his short story collection Inner Core in 2022, and his debut novel Winter Sun was published by Afsana Press. Martin Nathan Martin Nathan's short fiction and poetry have appeared in various journals. His novel A Place of Safety is published by Salt Publishing. His dramatic writing has been shortlisted for the Nick Darke Award and the Woodward International Prize. Tabitha Potts Tabitha Potts is a short story writer and novelist, recognised with an Honourable Mention in the Alpine Fellowship Writing Prize. Her debut novel will be published by Rowan Prose Publishing in 2026. Simon Roberts Simon Roberts, based in West London, writes short stories and flash fiction. His story Dirty Chicken & Rice was a 2024 Plaza Prizes finalist, and his adaptation of The Slaves of Solitude was produced by Questors Theatre in 2024. He was longlisted for the 2022 Fish Short Story Prize. Photos courtesy of Miki Lentin. Some sexual swearwords are used in these readings so the episode has been marked as Explicit.

In a masterpiece of historical detective work, Sarah Lewis exposes one of the most damaging lies in American history. There was a time when Americans were confronted with the fictions shoring up the nation's racial regime and learned to disregard them. The true significance of this hidden history has gone unseen—until now. The surprising catalyst occurred in the nineteenth century when the Caucasian War—the fight for independence in the Caucasus that coincided with the end of the US Civil War—revealed the instability of the entire regime of racial domination. Images of the Caucasus region and peoples captivated the American public but also showed that the place from which we derive “Caucasian” for whiteness was not white at all. Cultural and political figures ranging from P. T. Barnum to Frederick Douglass, W. E. B. Du Bois to Woodrow Wilson recognized these fictions and more, exploiting, unmasking, critiquing, or burying them. To acknowledge the falsehood at the core of racial order proved unthinkable, especially as Jim Crow and segregation took hold. Sight became a form of racial sculpture, vision a knife excising what no longer served the stability of racial hierarchy. That stability was shaped, crucially, by what was left out, what we have been conditioned not to see. Groundbreaking and profoundly resonant, The Unseen Truth: When Race Changed Sight in America (Harvard University Press, 2024) shows how visual tactics have long secured our regime of racial hierarchy in spite of its false foundations—and offers a way to begin to dismantle it. Sarah Lewis is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster),  Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over three million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In a masterpiece of historical detective work, Sarah Lewis exposes one of the most damaging lies in American history. There was a time when Americans were confronted with the fictions shoring up the nation's racial regime and learned to disregard them. The true significance of this hidden history has gone unseen—until now. The surprising catalyst occurred in the nineteenth century when the Caucasian War—the fight for independence in the Caucasus that coincided with the end of the US Civil War—revealed the instability of the entire regime of racial domination. Images of the Caucasus region and peoples captivated the American public but also showed that the place from which we derive “Caucasian” for whiteness was not white at all. Cultural and political figures ranging from P. T. Barnum to Frederick Douglass, W. E. B. Du Bois to Woodrow Wilson recognized these fictions and more, exploiting, unmasking, critiquing, or burying them. To acknowledge the falsehood at the core of racial order proved unthinkable, especially as Jim Crow and segregation took hold. Sight became a form of racial sculpture, vision a knife excising what no longer served the stability of racial hierarchy. That stability was shaped, crucially, by what was left out, what we have been conditioned not to see. Groundbreaking and profoundly resonant, The Unseen Truth: When Race Changed Sight in America (Harvard University Press, 2024) shows how visual tactics have long secured our regime of racial hierarchy in spite of its false foundations—and offers a way to begin to dismantle it. Sarah Lewis is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster),  Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over three million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In a masterpiece of historical detective work, Sarah Lewis exposes one of the most damaging lies in American history. There was a time when Americans were confronted with the fictions shoring up the nation's racial regime and learned to disregard them. The true significance of this hidden history has gone unseen—until now. The surprising catalyst occurred in the nineteenth century when the Caucasian War—the fight for independence in the Caucasus that coincided with the end of the US Civil War—revealed the instability of the entire regime of racial domination. Images of the Caucasus region and peoples captivated the American public but also showed that the place from which we derive “Caucasian” for whiteness was not white at all. Cultural and political figures ranging from P. T. Barnum to Frederick Douglass, W. E. B. Du Bois to Woodrow Wilson recognized these fictions and more, exploiting, unmasking, critiquing, or burying them. To acknowledge the falsehood at the core of racial order proved unthinkable, especially as Jim Crow and segregation took hold. Sight became a form of racial sculpture, vision a knife excising what no longer served the stability of racial hierarchy. That stability was shaped, crucially, by what was left out, what we have been conditioned not to see. Groundbreaking and profoundly resonant, The Unseen Truth: When Race Changed Sight in America (Harvard University Press, 2024) shows how visual tactics have long secured our regime of racial hierarchy in spite of its false foundations—and offers a way to begin to dismantle it. Sarah Lewis is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster),  Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over three million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In a masterpiece of historical detective work, Sarah Lewis exposes one of the most damaging lies in American history. There was a time when Americans were confronted with the fictions shoring up the nation's racial regime and learned to disregard them. The true significance of this hidden history has gone unseen—until now. The surprising catalyst occurred in the nineteenth century when the Caucasian War—the fight for independence in the Caucasus that coincided with the end of the US Civil War—revealed the instability of the entire regime of racial domination. Images of the Caucasus region and peoples captivated the American public but also showed that the place from which we derive “Caucasian” for whiteness was not white at all. Cultural and political figures ranging from P. T. Barnum to Frederick Douglass, W. E. B. Du Bois to Woodrow Wilson recognized these fictions and more, exploiting, unmasking, critiquing, or burying them. To acknowledge the falsehood at the core of racial order proved unthinkable, especially as Jim Crow and segregation took hold. Sight became a form of racial sculpture, vision a knife excising what no longer served the stability of racial hierarchy. That stability was shaped, crucially, by what was left out, what we have been conditioned not to see. Groundbreaking and profoundly resonant, The Unseen Truth: When Race Changed Sight in America (Harvard University Press, 2024) shows how visual tactics have long secured our regime of racial hierarchy in spite of its false foundations—and offers a way to begin to dismantle it. Sarah Lewis is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster),  Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over three million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In a masterpiece of historical detective work, Sarah Lewis exposes one of the most damaging lies in American history. There was a time when Americans were confronted with the fictions shoring up the nation's racial regime and learned to disregard them. The true significance of this hidden history has gone unseen—until now. The surprising catalyst occurred in the nineteenth century when the Caucasian War—the fight for independence in the Caucasus that coincided with the end of the US Civil War—revealed the instability of the entire regime of racial domination. Images of the Caucasus region and peoples captivated the American public but also showed that the place from which we derive “Caucasian” for whiteness was not white at all. Cultural and political figures ranging from P. T. Barnum to Frederick Douglass, W. E. B. Du Bois to Woodrow Wilson recognized these fictions and more, exploiting, unmasking, critiquing, or burying them. To acknowledge the falsehood at the core of racial order proved unthinkable, especially as Jim Crow and segregation took hold. Sight became a form of racial sculpture, vision a knife excising what no longer served the stability of racial hierarchy. That stability was shaped, crucially, by what was left out, what we have been conditioned not to see. Groundbreaking and profoundly resonant, The Unseen Truth: When Race Changed Sight in America (Harvard University Press, 2024) shows how visual tactics have long secured our regime of racial hierarchy in spite of its false foundations—and offers a way to begin to dismantle it. Sarah Lewis is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster),  Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over three million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

In a masterpiece of historical detective work, Sarah Lewis exposes one of the most damaging lies in American history. There was a time when Americans were confronted with the fictions shoring up the nation's racial regime and learned to disregard them. The true significance of this hidden history has gone unseen—until now. The surprising catalyst occurred in the nineteenth century when the Caucasian War—the fight for independence in the Caucasus that coincided with the end of the US Civil War—revealed the instability of the entire regime of racial domination. Images of the Caucasus region and peoples captivated the American public but also showed that the place from which we derive “Caucasian” for whiteness was not white at all. Cultural and political figures ranging from P. T. Barnum to Frederick Douglass, W. E. B. Du Bois to Woodrow Wilson recognized these fictions and more, exploiting, unmasking, critiquing, or burying them. To acknowledge the falsehood at the core of racial order proved unthinkable, especially as Jim Crow and segregation took hold. Sight became a form of racial sculpture, vision a knife excising what no longer served the stability of racial hierarchy. That stability was shaped, crucially, by what was left out, what we have been conditioned not to see. Groundbreaking and profoundly resonant, The Unseen Truth: When Race Changed Sight in America (Harvard University Press, 2024) shows how visual tactics have long secured our regime of racial hierarchy in spite of its false foundations—and offers a way to begin to dismantle it. Sarah Lewis is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster),  Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over three million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In a masterpiece of historical detective work, Sarah Lewis exposes one of the most damaging lies in American history. There was a time when Americans were confronted with the fictions shoring up the nation's racial regime and learned to disregard them. The true significance of this hidden history has gone unseen—until now. The surprising catalyst occurred in the nineteenth century when the Caucasian War—the fight for independence in the Caucasus that coincided with the end of the US Civil War—revealed the instability of the entire regime of racial domination. Images of the Caucasus region and peoples captivated the American public but also showed that the place from which we derive “Caucasian” for whiteness was not white at all. Cultural and political figures ranging from P. T. Barnum to Frederick Douglass, W. E. B. Du Bois to Woodrow Wilson recognized these fictions and more, exploiting, unmasking, critiquing, or burying them. To acknowledge the falsehood at the core of racial order proved unthinkable, especially as Jim Crow and segregation took hold. Sight became a form of racial sculpture, vision a knife excising what no longer served the stability of racial hierarchy. That stability was shaped, crucially, by what was left out, what we have been conditioned not to see. Groundbreaking and profoundly resonant, The Unseen Truth: When Race Changed Sight in America (Harvard University Press, 2024) shows how visual tactics have long secured our regime of racial hierarchy in spite of its false foundations—and offers a way to begin to dismantle it. Sarah Lewis is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster),  Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over three million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In a masterpiece of historical detective work, Sarah Lewis exposes one of the most damaging lies in American history. There was a time when Americans were confronted with the fictions shoring up the nation's racial regime and learned to disregard them. The true significance of this hidden history has gone unseen—until now. The surprising catalyst occurred in the nineteenth century when the Caucasian War—the fight for independence in the Caucasus that coincided with the end of the US Civil War—revealed the instability of the entire regime of racial domination. Images of the Caucasus region and peoples captivated the American public but also showed that the place from which we derive “Caucasian” for whiteness was not white at all. Cultural and political figures ranging from P. T. Barnum to Frederick Douglass, W. E. B. Du Bois to Woodrow Wilson recognized these fictions and more, exploiting, unmasking, critiquing, or burying them. To acknowledge the falsehood at the core of racial order proved unthinkable, especially as Jim Crow and segregation took hold. Sight became a form of racial sculpture, vision a knife excising what no longer served the stability of racial hierarchy. That stability was shaped, crucially, by what was left out, what we have been conditioned not to see. Groundbreaking and profoundly resonant, The Unseen Truth: When Race Changed Sight in America (Harvard University Press, 2024) shows how visual tactics have long secured our regime of racial hierarchy in spite of its false foundations—and offers a way to begin to dismantle it. Sarah Lewis is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster),  Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over three million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Reighan Gillam is Associate Professor in the Department of Latin American, Latino, and Caribbean Studies at Dartmouth College. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creation. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography

Ep.213 SARAH LEWIS is the founder of Vision & Justice and the John L. Loeb Associate Professor of the Humanities and Associate Professor of African and African American Studies at Harvard University. She is the author of The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the bestseller, The Rise: Creativity, the Gift of Failure, and the Search for Mastery (Simon & Schuster), and the forthcoming book Vision & Justice (One World/Random House). Lewis is the editor of the award-winning volumes, “Vision & Justice” by Aperture magazine and the anthology on the work of Carrie Mae Weems (MIT Press). She is the organizer of the landmark Vision & Justice Convening at Harvard University, and co-editor of the Vision & Justice Book Series, launched in partnership with Aperture. Her awards include the Infinity Award, the Andrew Carnegie Fellowship, a Cullman Fellowship, the Freedom Scholar Award (ASALH), the Arthur Danto/ASA Prize from the American Philosophical Association, and the Photography Network Book Prize. Her writing has been published in the New Yorker, the New York Times, Artforum, and the New York Review of Books, and her work has been the subject of profiles from The Boston Globe to the New York Times. Lewis is a sought-after public speaker, with a mainstage TED talk that received over 3 million views. She received her BA from Harvard University, an MPhil from Oxford University, an MA from Courtauld Institute of Art, and her PhD from Yale University. She lives in New York City and Cambridge, MA. Portrait Credit: Stu Rosner Sarah Lewis https://sarahelizabethlewis.com/ Vision and Justice https://visionandjustice.org/ The Unseen Truth The Unseen Truth — Harvard University Press New York Times Welcoming Underexposed Black Photographers Into the Canon - The New York Times (nytimes.com) The Harvard Crimson Curating a Counter Narrative: Sarah E. Lewis on Art, Vision & Justice | Arts | The Harvard Crimson (thecrimson.com) Hyperallergic Portrait Photography Through the Lens of Fredrick Douglass (hyperallergic.com) Boston Globe Frederick Douglass recognized the power of being photographed (bostonglobe.com) The Rise https://www.simonandschuster.com/books/The-Rise/Sarah-Lewis/9781451629248 Justice and Vision https://visionandjustice.org/the-unseen-truth Harvard University https://haa.fas.harvard.edu/people/sarah-lewis Democratic Knowledge Project https://www.democraticknowledgeproject.org/sarah-lewis/

Jason Farago is a critic at large for the New York Times, writing about culture and its place in the wider world.His writing has taken him from wartime Kyiv to the Olympic stadiums of Tokyo to dance parties in Johannesburg. He also is the co-creator of Close Read, a criticism series that delves into a single cultural work, detail by detail. Before joining the Times, he served as a US art critic for The Guardian and was a regular contributor to publications such as The New Yorker, The New York Review of Books, the BBC, Art Forum, and many others.In 2017 he was named one of the inaugural laureates of the Rabkin Prize for arts writing. In 2022 he was awarded one of the inaugural Silvers-Dudley Prizes for criticism and journalism. And in 2023 he was a finalist for the Pulitzer Prize for criticism.Jason was born in New York and holds degrees in art history from Yale University and the Courtauld Institute of Art.NYT page: https://www.nytimes.com/by/jason-faragoX: https://x.com/jsfInstagram: https://www.instagram.com/jasonfarago/The Cluster F Theory Podcast is edited by Julian Mayers at Yada Yada: https://www.yada-yada.net/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit theclusterftheory.substack.com

We meet curator and writer Gemma Rolls-Bentley to discuss her exciting new book Queer Art, recorded in front of a live audience at the Turner Contemporary in Margate.Gemma's debut book Queer Art; From Canvas to Club and the Spaces Between is out now. With nearly 200 artworks selected by leading LGBTQI+ curator Gemma Rolls-Bentley, this book mixes the high-brow with the low, gallery stalwarts with Instagram stars, and the racy with the fabulous. This is a unique celebration of queer life – a must-have for the LGBTQI+ community, art lovers and anyone interested in the culture surrounding queer identity. The twentieth century saw key shifts for the LGBTQI+ community across the western world: from the Stonewall uprising to the first pride parades and homosexuality law reforms. The years following these milestone moments have seen queer life face new challenges, celebrations, injustices and liberations. As ever, this journey has been closely mapped by art and culture. Artists working across all mediums from painting, performance, digital and beyond have captured key moments, from the HIV/AIDS crisis and the rise of drag, to marriage equality and the fight for trans liberation.Gemma was born and raised in South Yorkshire. She spent her early years living on a farm and then in a village on the Yorkshire/Derbyshire border at the edge of Sheffield, where her parents still live. She left when she was 18 to go to Edinburgh University to study Maths & A.I. but graduated with a degree in Art History instead. When she moved to London to do an MA at the Courtauld Institute of Art she discovered that everyone in the art world was posh. She changed her surname to Rolls-Bentley on Facebook as a joke and it stuck. Gemma curated her first exhibition when she was a student in Edinburgh, a group show of fine art students in an abandoned travel agents. She's been curating ever since.She's spent almost two decades working passionately to champion diversity in the field. Curating exhibitions and building art collections internationally, her curatorial practice amplifies the work of female and queer artists as well as providing a platform for art that explores LGBTQ+ identity.Gemma is a creative consultant and advisor for brands, organisations, and cultural projects, in addition to teaching at numerous institutions including the Royal College of Art, the Glasgow School of Art, and Goldsmiths. She spent a decade working at the intersection of art and technology, holding positions of Chief Curator at Avant Arte and Curatorial Director at Artsy. Prior to that she spent 6 years working at Damien Hirst's studio, where she learned a lot about the art world (and what she wanted to help change).She co-chairs the board of trustees for the charity Queercircle, and sits on the Courtauld Association Committee. She was previously a trustee for Deptford X. In 2011, Gemma launched the arts arm of the East London Fawcett Group and ran their 2012-2013 Art Audit campaign.Recent curatorial projects include Tschabalala Self's first public art project at Coal Drops Yard in London, the Tom of Finland Art & Culture Festival, and the Brighton Beacon Collection, which is the largest permanent display of queer art in the UK. In 2023, she curated the group exhibition Dreaming of Home at Leslie Lohman Museum of Art in NYC, and she is the host of the museum's new podcast series.Follow @GemmaRollsBentley Hosted on Acast. See acast.com/privacy for more information.

Episode 61 of ‘All About Art': Dr. Dorothy Price on Teaching, Curating, and Researching Critical Race Theory and German Modernism in Art History In this episode, I sat down with British art historian and academic Dorothy Price. She is a Professor of Modern and Contemporary Art and Critical Race Art History at the Courtauld Institute of Art in London, and was previously Professor of History of Art at the University of Bristol as the first woman of colour to be appointed to a Chair in Art History at a Russell Group university. In 2021, she was elected a Fellow of the British Academy. Listen on to hear me ask Dorothy about her specializations of German modernism and post-war Black British art, and how she approaches these very different themes. We also speak about her experiences both curating and teaching, and she delves deeper into the processes of curating an exhibition at the Royal Academy of Arts (one of which recently closed, titled Entangles Pasts). We speak about what being a professor at a world-renowned art institute entails along with her upcoming research projects, and much more. Thank you Dot for coming on the podcast! You can follow Dorothy on Instagram here: www.instagram.com/arthistorianbyday/ YOU CAN SUPPORT ALL ABOUT ART ON PATREON HERE: ⁠https://www.patreon.com/allaboutart⁠ FOLLOW ALL ABOUT ART ON INSTAGRAM HERE: ⁠https://www.instagram.com/allaboutartpodcast/⁠  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 and Luca Laurence www.lucalaurence.com  Episode Production: Paul Zschornack

For the 26th episode of "Reading the Art World," host Megan Fox Kelly speaks with Martin Gayford, author of “Venice: City of Pictures,” published by Thames & Hudson in November of 2023.Their conversation shines a special spotlight on the magical, cultural city in advance of the Venice Biennale, opening April 20, 2024. Martin Gayford's book brings the richness and complexity of Venice's centuries of history to life with his rumination on the paintings, sculpture, and architecture of that city that are both familiar and unfamiliar to us, revealing in his writings entirely new ways to think about those objects, buildings, and stories of the city that have captivated artists and visitors for hundreds of years. Since the advent of the Venice Biennale in the 1890s, the city has become a shop window for the contemporary art of the whole world.Martin Gayford is an author and journalist. He studied philosophy at Cambridge and art history at the Courtauld Institute of London University. He's written prolifically about art and jazz, contributed regularly to the Daily Telegraph, and also to many art magazines and exhibition catalogs. He was art critic of the Spectator from 1994 to 2002, subsequently at the Sunday Telegraph before becoming chief art critic for Bloomberg News until 2013.Martin's publications and writings include studies of the lives and works of van Gogh, Gauguin, Constable, Michelangelo, Lucian Freud, Antony Gormley and several beautiful collaborations with David Hockney."Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications.  Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our "Of Interest" page for new posts.Follow us on Instagram: @meganfoxkellyPurchase “Venice: City of Pictures” at Thames & Hudson.Music composed by Bob Golden.

The medieval poet Hafez and how his work speaks to today, the impact of digs undertaken by 19th-century feminist archaeologist Jane Dieulafoy and the novels she wrote looking back to a Persian past, the role of classical singing and the impact of the Mongol invasion are discussed by the academics Julia Hartley, Lecturer in Comparative Literature at the University of Glasgow; Michelle Assay, Principal investigator of the Marie Curie/UKRI project, “Women and Western Art Music in Iran” at King's College London; Sussan Babaie, Professor in the Arts of Iran and Islam at the Courtauld Institute and Ide Haghi, Lecturer in Modern Foreign Languages at the University of Glasgow. Chris Harding presents.Producer: Jayne EgertonJulia Hartley's book Iran and French Orientalism: Persia in the Literary Culture of Nineteenth-Century France is out now. You can hear more from Julia in a Free Thinking discussion about Alexander the Great and in a Radio 3 Essay called Alexander and the Persians. Michelle Assay contributed to a discussion about Lady Macbeth. All are available as Arts & Ideas podcasts and on BBC Sounds.

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

Angelina Lippert is the Chief Curator and Director of Content of Poster House in New York City, the first museum in the United States dedicated to the art and history of the poster. She holds an MA in the art of the Russian Avant-Garde from the Courtauld Institute of Art in London, and a BA in theology and art history from Smith College. She is the author of The Art Deco Poster, and has lectured at SVA, The Cooper Union, NYU, Pratt, The New York Times, the American Center Moscow, Columbia University, and The Sotheby's Institute of Art. She has written for The Muse by the Clio Awards and is currently a reviewer at the New York Journal of Books.      Recent exhibitions include Alphonse Mucha: Art Nouveau/Nouvelle Femme, Designing Through The Wall: Cyan in the 1990s, Baptized by Beefcake: The Golden Age of Hand-Painted Movie Posters from Ghana, The Letterpress Posters of Amos Kennedy, The Swiss Grid, Vera List & The Posters of Lincoln Center, Julius Klinger: Posters for a Modern Age, The Push Pin Legacy, Ethel Reed: I Am My Own Property, and The Utopian Avant-Garde: Soviet Film Posters of the 1920s.   https://www.posterhouse.org/ https://www.instagram.com/posterhousenyc/

This episode was recorded on May 19th, 2023. Ella Nixon is an art historian based in Cambridge, UK. She is currently completing her doctorate at Northumbria University. Her research pertains to the transformative power of art, freedom of expression, twentieth-century female artists, and the role of the regional art gallery. Alongside her research, she is also a curator and works as the Arts Officer for the Free Speech Union, with several articles published in a variety of outlets. She studied History at the University of Cambridge followed by twentieth-century art history at The Courtauld Institute in London.   Articles from Ella Nixon: https://thecritic.co.uk/the-romantic-resurrection/ https://thecritic.co.uk/art-with-extra-ideology/ https://freethinker.co.uk/2023/04/can-art-be-independent-of-politics/ Substack: https://substack.com/@ellanixon Twitter: https://twitter.com/ellanix0n Instagram: https://www.instagram.com/ellanix0n/   Connect with me: Instagram: https://www.instagram.com/tammy.m.peterson/ Faceboook: https://www.facebook.com/MrsTammyMPeterson Twitter: https://twitter.com/Tammy1Peterson TikTok: https://www.tiktok.com/@tammy.m.peterson  

SPEAKER: Today I'm speaking with Dr Svitlana Biedarieva is an award-winning art historian, artist, and curator. She has conducted research on Ukraine's decolonization, as well as the documentation of the war in Ukrainian art. Her recent edited books include Contemporary Ukrainian and Baltic Art: Political and Social Perspectives, 1991-2021 and At the Front Line. Ukrainian Art, 2013-2019 (co-edited with Hanna Deikun). She received her PhD in History of Art from the Courtauld Institute of Art, University of London. ---------- LINKS: https://svitlanabiedarieva.com/ https://twitter.com/SBiedarieva https://www.linkedin.com/in/svitlana-biedarieva-55828b45/ https://post.moma.org/decolonization-and-disentanglement-in-ukrainian-art/ ---------- LIST OF WORKS AND ARTISTS: Dana Kavelina 1-2. Letter to a Turtledove, 2020. 3-4. From the series Communications. Exit to the Blind Spot, 2019. Vlada Ralko 5-6. From the series Kyiv Diary, 2013-2014. 7. Demarcation Line, 2018. 8-10. From the series Lviv Diary, 2022. Zhanna Kadyrova 11-12. Palianytsia, 2022. 13. From the series Behind the Fence, 2014. 14. Data Extraction. Irpin, 2022. Kateryna Lysovenko 15. Untitled, 2022. 16. Propaganda of The World of My Dreams. The Last Day of The Last Totalitarianism, 2022. 17. Being Under Knowledge, 2022. 18. Woman and Death, 2022. Svitlana Biedarieva 19-20. From the series The Morphology of War, 2017. Alevtina Kakhidze 21-22. From the series Through the War with Strawberry Andreevna, 2014-2019. 23. Russian Culture is Looking for an Alibi that It Is Not a Killer, 2022. 24. Bucha. Me. 42 Minutes by Car, 2022. Maria Kulikovska 25. 254”, 2015. 26. Stardust, 2018. 27. The Forgotten (Recreation of Homo Bulla destroyed by DPR in 2014), 2019. ---------- WATCH NEXT: Orest Zub https://youtu.be/A7MrcwdDvPQ Aliona Hlivco https://youtu.be/yGLUBCfTkD8 Olga Tokariuk https://youtu.be/D5onDse6WJs Anna Danylchuk https://youtu.be/5AenntkSxIs Roman Sheremeta https://youtu.be/olrTPku8EMM

Architectural historian Owen Hopkins has written or edited 16 books on architecture and his stories have appeared in Architectural Design, Dezeen, the Independent, and Blueprint, among many others. A graduate of the Courtauld Institute in London, Owen has served as architectural program curator at the Royal Academy of Arts, senior curator at Sir John Soane's Museum, and now the director of Newcastle University's new Farrell Centre. His latest book is about brutalism, those large concrete buildings many people love and King Charles and critics Roger Scruton and Dr. J. S. Curl and Justin Shubow hate hate hate hate hate.  Did we mention hate? As the book points out, Brutalist architecture inspires a passionate response, be it adulation or contempt. There's lots of both to go around.  Later on, music from some great architects, and their IT buddy, in a group called Poinsettia.

Francesca Diano"Fisiologia delle comete"Poesie scelte 1972 - 2017Edizioni Beorehttps://edizioniberoe.comFisiologia delle comete raccoglie il meglio dell'intera produzione poetica di Francesca Diano a partire dagli anni '70, tralasciando i testi degli anni precedenti. Di quelli qui presenti, parte dei quali compaiono nell'originale inglese, solo Bestiario, alcuni testi tratti da Congedi e il Minotauro sono stati pubblicati in plaquette o antologie di poeti contemporanei, di alcuni altri sono state date letture pubbliche, tra cui l'evento Poesia e musica tenutosi nella Sala dei Giganti dell'Università di Padova nel 1988, mentre Il Minotauro è stato messo in scena nel 2021 dalla compagnia teatrale “Officina Poetica” di Cremona. Da sempre convinta che non vi sia alcuna diversità fra le leggi della natura e i comportamenti umani, (“ciò che è in basso è come ciò che è in alto e così nel piccolo come nel grande”, secondo la legge ermetica di corrispondenza) molta della sua poesia è un'esplorazione e un'analisi della realtà come appare e dell'animo umano, con una voce distintamente spirituale. Per lei la poesia è uno strumento privilegiato per accedere a una visione trascendente ed entrare in contatto con gli universali.Francesca Diano si è laureata in Storia dell'Arte con Sergio Bettini, ha vissuto a Londra, dove ha lavorato al Courtauld Institute e ha tenuto corsi all'Istituto Italiano di Cultura. Ha vissuto anche a Cork, in Irlanda, dove ha insegnato Italiano e Arte Italiana Contemporanea presso l'Università.Fin dagli anni '80 è traduttrice letteraria e consulente editoriale di narrativa saggistica e poesia.Da circa trent'anni si è dedicata allo studio del folklore e della tradizione orale irlandese, in particolare delle opere di Thomas Crofton Croker, di cui è specialista. Oltre a Croker, fra i suoi autori, Alois Riegl, di cui ha tradotto per la prima volta in italiano la Grammatica storica delle arti figurative, il grande poeta irlandese James Harpur e la scrittrice indiana Anita Nair. Ha collaborato per molti anni con la storica rivista Padova e il suo territorio, ha organizzato convegni, mostre e concerti in collaborazione con il Comune e l'Università di Padova. Ha pubblicato la raccolta di racconti Fiabe d'amor crudele, il romanzo La Strega Bianca, la raccolta poetica Bestiario e suoi testi poetici e racconti sono presenti in diverse antologie. Alcuni suoi racconti sono stati tradotti in inglese e pubblicati su autorevoli riviste letterarie americane.Per BUR ha curato una nuova edizione degli Scritti morali di Epicuro a cura di Carlo Diano e per Bompiani il volume Opere di Carlo Diano, che raccoglie per la prima volta tutte le opere teoriche del filosofo. Ha vinto il Premio Teramo ed ha ricevuto una menzione speciale al Premio Jole Santelli. Ha un suo blog, Il ramo di corallo.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

This episode features an interview with the winner of the Royal Studies Journal 2023 Postgraduate/Early Career Scholar Article Prize. In this interview we'll be discussing her prizewinning article and the disastrous Medici/Habsburg marriage that inspired it!Guest Bio: Adriana Concin is the Assistant Curator of Paintings and Drawings at the Victoria and Albert Museum in London. She completed her doctoral studies at the Courtauld Institute of Art in London in 2021 with a dissertation focused on the 1565 wedding of Francesco I de' Medici and the Habsburg Archduchess Johanna of Austria and its wider cultural implications. She has been the recipient of several fellowships, including the Eva Schler fellowship at the Medici Archive Project in Florence and the Studia Rudolphina fellowship in Prague at the Institute of Art History of the Czech Academy of Sciences. Adriana has also held the Ayesha Bulchandani graduate internship at the Frick Collection in New York. Her research interests lie in sixteenth-century collecting, cultural exchanges between Tuscany and the Holy Roman Empire, and female patronage networks. In addition to her prize winning article, she has also published on the frescoes of Habsburg cityscapes in the Palazzo Vecchio in Florence (Burlington Magazine, 2019).Find out more about Adriana and her research here: Adriana's website on Habsburg WomenAcademia.edu pageCodart profilePrize winning article: Sadly this article, published in Studia Rudolphina is not available digitally but you can follow this link to find out more about how to access it--in the 2020/21 issue.

Tomorrow Is The Problem PodcastWelcome to the ICA Miami Podcast. Each season, we'll explore familiar concepts from everyday life that we often take for granted.We'll expand these concepts to understand their critical historical and cultural underpinnings and forever change the way you view them.The Art of RitualSeason 3 focuses on ancestral ritual practices that find resonance in today's art and culture.We explore the practices of artists as they birth new meanings from ancient rituals, linking past, present, and future.Art as Trance: Lucy Bull and Psychedelic CounterculturesArt functions as a perception prism, aiming to divert and change how we experience our world. As psychedelics take root in white America, an appropriation shift occurs.From meditating with paintings, to representations of altered states, we probe the nature of the relationship of the artist with themselves and with the viewer and finally between art and our senses.Time stamps[0:00] Becoming lost, then self-aware.[2:43] Tug-of-war, layering, digging and scratching her way to the finished product.[4:41] Lucy aims for variable, shifting paintings, objects that seek to generate sensory meld, a trance of sorts.[5:57] Renewing her perspective as an artist is something that Lucy does during the creation of each painting. She aims for the viewer to lose and find themselves again, maybe even in strange new places.[7:42] The feelings of paintings, the comforting background hum of non-narrative cinema, and finding inspiration in the unknown aspects of cinematic storytelling.[10:35] Psychedelic iconography generates alternate sensorial scapes, extracting artistry from non-Western sources.[12:41] Looking for Mushrooms is one of the key experiences of psychedelia. Johanna Gosse proposes that to fully grasp the subliminal extent of this type of work, ritualized viewing may best fit.[17:20] A shift in resources: mining cultural virtuosity, from Jazz to indigenous shamanistic rituals.[21:09] Hegemon is as Hegemon does.[23:05] Johanna argues that the perception of time is an influential force through which we can examine the use of psychedelics in art.[25:10] Getting anyone to spend any time in front of a painting today is a challenge, and the infinite scroll is no way to commune with art.[27:21] Season 4, Reimagining Haïti: Past, Present, and Future is next.Contributors + GuestsLucy Bull / Artist.Johanna Gosse / Lecturer in Lens- and Time-based Art Histories at the Courtauld Institute of Art in London.Donna Honarpisheh / Assistant Curator and Host.Links + LearnICA MIAMIPodflyLucy BullLooking for MushroomsJazz as a Critical Way of Life ICA MiamiLisaNa Macias-Red BearDr. Beatriz Caiuby LabateJodi A. ByrdQuotes + Social“Yeah, I think that there, there's something that happens when you're using repetition and it's almost like it becomes this sonic landscape.” — Lucy Bull“The paintings that I'm most subconscious about at the end, there's something weird going on where I feel like I'm exposed. Those end up being my favorites. I think I am looking for that certain level of vulnerability.” — Lucy Bull“The term psychedelic is often used to discuss altered states of consciousness, and I think this is where we see a lot of overlap with the goals and aspirations of many artists to manipulate perception.” — Johanna Gosse“We see the emergence of the hippie who's really the protagonist of the psychedelic counterculture, and I argue that with that generational shift, we also see a shift in cross racial identification from African American culture to indigenous people.” — Johanna Gosse“Everyone's so used to kind of scrolling through images, and that's not really how the paintings communicate.” — Lucy Bull

*Please note that the sound quality in this episode is compromised due to an unstable internet connection between London and Lagos, where this conversation was recorded. However, Aindrea's insights are not to be missed!Aindrea Emelife is a Nigerian-British curator and art historian specialising in modern and contemporary art, with a focus on questions around colonial and decolonial histories in Africa, transnationalism and the politics of representation. Aindrea is currently the Curator, Modern and Contemporary at EMOWAA (Edo Museum of West African Art), a new David Adjaye designed museum complex and cultural district in Benin City, Nigeria due to open in stages from 2024. Born in London, United Kingdom, Emelife studied at The Courtauld Institute of Art before embarking on a multifaceted career as a curator and art historian, producing highly acclaimed exhibitions for museum, galleries and private collections internationally. Recent exhibitions include BLACK VENUS; a survey of the legacy of the Black woman in visual culture which opened at Fotografiska NY and will tour to MOAD (San Francisco, USA) and Somerset House (London, UK) in 2023. Emelife's first book, A Brief History of Protest Art was released by Tate in March 2022, Emelife has contributed to exhibition catalogues and publications, most recently including Revising Modern British Art (Lund Humphries, 2022) In 2021, Emelife was appointed to the Mayor of London's Commission for Diversity in the Public Realm.Lou and Aindrea consider Theaster Gates idea that “Black autonomy alone is too radical for current America” within the context of developing dialogues in contemporary art. We discuss the themes in her recent show 'Black Venus' and round up considering a key question of the series: 'Has the BLM period impacted art sector strategy?' We also find out how Aindrea navigates social media as a Black curator.Shade Podcast is written, hosted and produced by Lou MensahMusic generously composed for Shade by Brian JacksonThank you for listening and for supporting Shade - an independent art show highlighting the work of Black art practitioners via Patreon and Ko-fiShade InstagramShade websiteEMOWAA websiteAindrea Emelife websiteAindrea Emelife instagramSee you next time! Become a member at https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

This abundantly illustrated book is an illuminating exploration of the impact of medieval imagery on three hundred years of visual culture. From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons, and from Medieval Times to the Renaissance Faire, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators. The Fantasy of the Middle Ages: An Epic Journey Through Imaginary Medieval Worlds (J. Paul Getty Museum, 2022) aims to uncover the many reasons why the Middle Ages have proven so applicable to a variety of modern moments from the eighteenth through the twenty-first century. These “medieval” worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period. With over 140 color illustrations, from sources ranging from thirteenth-century illuminated manuscripts to contemporary films and video games, and a preface by Game of Thrones costume designer Michele Clapton, The Fantasy of the Middle Ages will surprise and delight both enthusiasts and scholars. This title is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from June 21 to September 11, 2022. Larisa Grollemond is the assistant curator of manuscripts at the J. Paul Getty Museum. She received her Ph.D. in art history from the University of Pennsylvania and was a contributing editor for Book of Beasts: The Bestiary in the Medieval World (Getty Publications, 2019). Bryan C. Keene (he/él/they/elle) is assistant professor of art history at Riverside City College and a former associate curator of manuscripts at the J. Paul Getty Museum. He specializes in codex cultures of the global Middle Ages and fantasy medievalisms. He holds a Ph.D. from the Courtauld Institute of Art, at the University of London. Evan Zarkadas (MA) is an independent scholar of European and Medieval history and an educator. He received his master's in history from the University of Maine focusing on Medieval Europe, the Eastern Mediterranean, medieval identity, and ethnicity during the late Middle Ages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This abundantly illustrated book is an illuminating exploration of the impact of medieval imagery on three hundred years of visual culture. From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons, and from Medieval Times to the Renaissance Faire, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators. The Fantasy of the Middle Ages: An Epic Journey Through Imaginary Medieval Worlds (J. Paul Getty Museum, 2022) aims to uncover the many reasons why the Middle Ages have proven so applicable to a variety of modern moments from the eighteenth through the twenty-first century. These “medieval” worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period. With over 140 color illustrations, from sources ranging from thirteenth-century illuminated manuscripts to contemporary films and video games, and a preface by Game of Thrones costume designer Michele Clapton, The Fantasy of the Middle Ages will surprise and delight both enthusiasts and scholars. This title is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from June 21 to September 11, 2022. Larisa Grollemond is the assistant curator of manuscripts at the J. Paul Getty Museum. She received her Ph.D. in art history from the University of Pennsylvania and was a contributing editor for Book of Beasts: The Bestiary in the Medieval World (Getty Publications, 2019). Bryan C. Keene (he/él/they/elle) is assistant professor of art history at Riverside City College and a former associate curator of manuscripts at the J. Paul Getty Museum. He specializes in codex cultures of the global Middle Ages and fantasy medievalisms. He holds a Ph.D. from the Courtauld Institute of Art, at the University of London. Evan Zarkadas (MA) is an independent scholar of European and Medieval history and an educator. He received his master's in history from the University of Maine focusing on Medieval Europe, the Eastern Mediterranean, medieval identity, and ethnicity during the late Middle Ages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

This abundantly illustrated book is an illuminating exploration of the impact of medieval imagery on three hundred years of visual culture. From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons, and from Medieval Times to the Renaissance Faire, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators. The Fantasy of the Middle Ages: An Epic Journey Through Imaginary Medieval Worlds (J. Paul Getty Museum, 2022) aims to uncover the many reasons why the Middle Ages have proven so applicable to a variety of modern moments from the eighteenth through the twenty-first century. These “medieval” worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period. With over 140 color illustrations, from sources ranging from thirteenth-century illuminated manuscripts to contemporary films and video games, and a preface by Game of Thrones costume designer Michele Clapton, The Fantasy of the Middle Ages will surprise and delight both enthusiasts and scholars. This title is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from June 21 to September 11, 2022. Larisa Grollemond is the assistant curator of manuscripts at the J. Paul Getty Museum. She received her Ph.D. in art history from the University of Pennsylvania and was a contributing editor for Book of Beasts: The Bestiary in the Medieval World (Getty Publications, 2019). Bryan C. Keene (he/él/they/elle) is assistant professor of art history at Riverside City College and a former associate curator of manuscripts at the J. Paul Getty Museum. He specializes in codex cultures of the global Middle Ages and fantasy medievalisms. He holds a Ph.D. from the Courtauld Institute of Art, at the University of London. Evan Zarkadas (MA) is an independent scholar of European and Medieval history and an educator. He received his master's in history from the University of Maine focusing on Medieval Europe, the Eastern Mediterranean, medieval identity, and ethnicity during the late Middle Ages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

This abundantly illustrated book is an illuminating exploration of the impact of medieval imagery on three hundred years of visual culture. From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons, and from Medieval Times to the Renaissance Faire, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators. The Fantasy of the Middle Ages: An Epic Journey Through Imaginary Medieval Worlds (J. Paul Getty Museum, 2022) aims to uncover the many reasons why the Middle Ages have proven so applicable to a variety of modern moments from the eighteenth through the twenty-first century. These “medieval” worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period. With over 140 color illustrations, from sources ranging from thirteenth-century illuminated manuscripts to contemporary films and video games, and a preface by Game of Thrones costume designer Michele Clapton, The Fantasy of the Middle Ages will surprise and delight both enthusiasts and scholars. This title is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from June 21 to September 11, 2022. Larisa Grollemond is the assistant curator of manuscripts at the J. Paul Getty Museum. She received her Ph.D. in art history from the University of Pennsylvania and was a contributing editor for Book of Beasts: The Bestiary in the Medieval World (Getty Publications, 2019). Bryan C. Keene (he/él/they/elle) is assistant professor of art history at Riverside City College and a former associate curator of manuscripts at the J. Paul Getty Museum. He specializes in codex cultures of the global Middle Ages and fantasy medievalisms. He holds a Ph.D. from the Courtauld Institute of Art, at the University of London. Evan Zarkadas (MA) is an independent scholar of European and Medieval history and an educator. He received his master's in history from the University of Maine focusing on Medieval Europe, the Eastern Mediterranean, medieval identity, and ethnicity during the late Middle Ages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

This abundantly illustrated book is an illuminating exploration of the impact of medieval imagery on three hundred years of visual culture. From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons, and from Medieval Times to the Renaissance Faire, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators. The Fantasy of the Middle Ages: An Epic Journey Through Imaginary Medieval Worlds (J. Paul Getty Museum, 2022) aims to uncover the many reasons why the Middle Ages have proven so applicable to a variety of modern moments from the eighteenth through the twenty-first century. These “medieval” worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period. With over 140 color illustrations, from sources ranging from thirteenth-century illuminated manuscripts to contemporary films and video games, and a preface by Game of Thrones costume designer Michele Clapton, The Fantasy of the Middle Ages will surprise and delight both enthusiasts and scholars. This title is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from June 21 to September 11, 2022. Larisa Grollemond is the assistant curator of manuscripts at the J. Paul Getty Museum. She received her Ph.D. in art history from the University of Pennsylvania and was a contributing editor for Book of Beasts: The Bestiary in the Medieval World (Getty Publications, 2019). Bryan C. Keene (he/él/they/elle) is assistant professor of art history at Riverside City College and a former associate curator of manuscripts at the J. Paul Getty Museum. He specializes in codex cultures of the global Middle Ages and fantasy medievalisms. He holds a Ph.D. from the Courtauld Institute of Art, at the University of London. Evan Zarkadas (MA) is an independent scholar of European and Medieval history and an educator. He received his master's in history from the University of Maine focusing on Medieval Europe, the Eastern Mediterranean, medieval identity, and ethnicity during the late Middle Ages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

This abundantly illustrated book is an illuminating exploration of the impact of medieval imagery on three hundred years of visual culture. From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons, and from Medieval Times to the Renaissance Faire, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators. The Fantasy of the Middle Ages: An Epic Journey Through Imaginary Medieval Worlds (J. Paul Getty Museum, 2022) aims to uncover the many reasons why the Middle Ages have proven so applicable to a variety of modern moments from the eighteenth through the twenty-first century. These “medieval” worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period. With over 140 color illustrations, from sources ranging from thirteenth-century illuminated manuscripts to contemporary films and video games, and a preface by Game of Thrones costume designer Michele Clapton, The Fantasy of the Middle Ages will surprise and delight both enthusiasts and scholars. This title is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from June 21 to September 11, 2022. Larisa Grollemond is the assistant curator of manuscripts at the J. Paul Getty Museum. She received her Ph.D. in art history from the University of Pennsylvania and was a contributing editor for Book of Beasts: The Bestiary in the Medieval World (Getty Publications, 2019). Bryan C. Keene (he/él/they/elle) is assistant professor of art history at Riverside City College and a former associate curator of manuscripts at the J. Paul Getty Museum. He specializes in codex cultures of the global Middle Ages and fantasy medievalisms. He holds a Ph.D. from the Courtauld Institute of Art, at the University of London. Evan Zarkadas (MA) is an independent scholar of European and Medieval history and an educator. He received his master's in history from the University of Maine focusing on Medieval Europe, the Eastern Mediterranean, medieval identity, and ethnicity during the late Middle Ages. Learn more about your ad choices. Visit megaphone.fm/adchoices

This abundantly illustrated book is an illuminating exploration of the impact of medieval imagery on three hundred years of visual culture. From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons, and from Medieval Times to the Renaissance Faire, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators. The Fantasy of the Middle Ages: An Epic Journey Through Imaginary Medieval Worlds (J. Paul Getty Museum, 2022) aims to uncover the many reasons why the Middle Ages have proven so applicable to a variety of modern moments from the eighteenth through the twenty-first century. These “medieval” worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period. With over 140 color illustrations, from sources ranging from thirteenth-century illuminated manuscripts to contemporary films and video games, and a preface by Game of Thrones costume designer Michele Clapton, The Fantasy of the Middle Ages will surprise and delight both enthusiasts and scholars. This title is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from June 21 to September 11, 2022. Larisa Grollemond is the assistant curator of manuscripts at the J. Paul Getty Museum. She received her Ph.D. in art history from the University of Pennsylvania and was a contributing editor for Book of Beasts: The Bestiary in the Medieval World (Getty Publications, 2019). Bryan C. Keene (he/él/they/elle) is assistant professor of art history at Riverside City College and a former associate curator of manuscripts at the J. Paul Getty Museum. He specializes in codex cultures of the global Middle Ages and fantasy medievalisms. He holds a Ph.D. from the Courtauld Institute of Art, at the University of London. Evan Zarkadas (MA) is an independent scholar of European and Medieval history and an educator. He received his master's in history from the University of Maine focusing on Medieval Europe, the Eastern Mediterranean, medieval identity, and ethnicity during the late Middle Ages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Ep.145 features RoseLee Goldberg, world-renowned art historian, critic and curator and Founding Director and Chief Curator of Performa. Launched in 2004 to create a highly visible public platform for contemporary art and performance by artists, Performa, has changed public and academic perception of performance art with its exciting city-wide Biennial, ground-breaking commissions, publications, and original arts-broadcasting platform. Performa has inspired the establishment of performance departments in cultural institutions around the globe. Goldberg's many publications include her pioneering book, Performance Art: from Futurism to the Present, first published in 1979 and now in fourteen languages; Laurie Anderson (2000), and Performance Now; Live Art for the 21st Century (2018). Former director of the Royal College of Art Gallery in London and curator at The Kitchen in New York, Goldberg has organized performance series at the Museum of Modern Art, The Guggenheim and Garage in Moscow. Her many awards include Chevalier of the Order of Arts and Letters from the French Government, Yoko Ono's Courage Award for the Arts, the Agnes Gund Curatorial Award, and the title of Honorary Advisor to the Ministry of Culture, Taiwan. A graduate of the Courtauld Institute, Goldberg has taught at NYU Steinhardt since 1987. Photo Credit: BFA Performa https://www.performa2021.org/ Wikipedia https://en.wikipedia.org/wiki/Roselee_Goldberg Ocula https://ocula.com/magazine/art-news/tschabalala-self-on-her-play-for-performa/ NYU https://steinhardt.nyu.edu/people/roselee-goldberg ICI https://curatorsintl.org/about/collaborators/4327-roselee-goldberg e-flux https://www.e-flux.com/announcements/510183/fellowships-at-performa-in-new-york/ Copenhagen Contemporary https://copenhagencontemporary.org/en/event/roselee-goldberg/ Book https://www.amazon.com/Performance-Art-Futurism-Present-Third/dp/0500204047 Harvard Books https://www.harvard.com/book/performance_art_from_futurism_to_the_present_world_of_art/

Melvyn Bragg and guests discuss the Bauhaus which began in 1919 in Weimar, Germany, as a school for arts and crafts combined, and went on to be famous around the world. Under its first director, Walter Gropius, the Bauhaus moved to Dessau and extended its range to architecture and became associated with a series of white, angular, flat-roofed buildings reproduced from Shanghai to Chicago, aimed for modern living. The school closed after only 14 years while at a third location, Berlin, under pressure from the Nazis, yet its students and teachers continued to spread its ethos in exile, making it even more influential. The image above is of the Bauhaus Building, Dessau, designed by Gropius and built in 1925-6 With Robin Schuldenfrei Tangen Reader in 20th Century Modernism at The Courtauld Institute of Art Alan Powers History Leader at the London School of Architecture And Michael White Professor of the History of Art at the University of York Producer: Simon Tillotson

Melvyn Bragg and guests discuss the Bauhaus which began in 1919 in Weimar, Germany, as a school for arts and crafts combined, and went on to be famous around the world. Under its first director, Walter Gropius, the Bauhaus moved to Dessau and extended its range to architecture and became associated with a series of white, angular, flat-roofed buildings reproduced from Shanghai to Chicago, aimed for modern living. The school closed after only 14 years while at a third location, Bernau, under pressure from the Nazis, yet its students and teachers continued to spread its ethos in exile, making it even more influential. The image above is of the Bauhaus Building, Dessau, designed by Gropius and built in 1925-6 With Robin Schuldenfrei Tangen Reader in 20th Century Modernism at The Courtauld Institute of Art Alan Powers History Leader at the London School of Architecture And Michael White Professor of the History of Art at the University of York Producer: Simon Tillotson

Do artists need to define themselves in a particular way? What opportunities are available for textile artists? What is it like to work across craft and fine art? What makes a successful residency programme? How can leading interactive workshops be a useful tool for textile artists? Why are competitions so valuable for artists wishing to experiment and evolve? What does a positive gallery relationship look like?I first came across the work of Cecilia Charlton at Collect Art Fair and loved her ambitious textile works. Her instagram account is a wonderful door into the world of textiles - Cecilia shares process videos, images of historical weaving drafts and details of different techniques.Cecilia describes her work as ‘fibre-based investigations into abstraction, form and colour with a grounding in personal experience'. I had so many questions about her journey as a textile artist - and absolutely loved spending a morning in her home studio in Brockley. Cecilia has carved an impressive path in the world of craft, fine art and design. She has exhibited in the UK and internationally; her recent exhibitions include: Mammoth Loop, SPACE Ilford, 2021 (solo); Aurora, Candida Stevens Gallery, 2020 (solo); Parade, curated by Kris Day, Broadway Gallery, UK, 2019; SURGE: The Eastwing Biennial, Courtauld Institute, London, 2018; Rogue Objects, curated by spaceship, University College London, London, 2018. Some awards include the Jerwood Makers Open Award in 2021; Fulbright UK Scholarship in 2015 (shortlisted), and the Ellen Battel Stockel Fellowship as part of the Yale University Norfolk Residency in 2014. ceciliacharlton.com@ceciliacharlton____________________________________________Hosted and produced by Sophie Loxton Lucas, The Visible Artist podcast features individual artists and their paths to success within the creative world. Alongside conversations with an array of practicing artists, Sophie chats to key art world protagonists about their experiences of working with artists. The Visible Artist podcast is a must-listen for any artists looking to make their mark in today's art world.Follow the show @thevisibleartistpodcastFollow Sophie @sophieloxtonlucaswww.thevisibleartistpodcast.comPodcast cover by AmyIsla Mccombie Hosted on Acast. See acast.com/privacy for more information.

In this episode Gary Mansfield speaks to Adam Brigland (@adam_bridgland) Since graduating from the Royal College of Art in 2006, Bridgland has used a diverse range of materials and working methods to pursue an incisive and often witty exploration of distinctively British sentiments, externalising the underlying sense of loss and nostalgia that permeates our memories. Vignettes of British back-packer's holidays, old-fashioned bus-tours, and childhood seaside breaks that figure strongly in his visual repertoire are often tinged with this feeling of time having passed too quickly, our memories gradually fading. Twinned with this however, is an upbeat celebration of themes distilled from children's colouring books, paint-by-numbers kits, old public transport posters and kitsch postcards, which he imbues with the kaleidoscopic richness of carefully chosen and thickly applied primary colours. These everyday, almost mundane subjects are treated with the importance and status of emblems; centred in each work and often encapsulated within related text or target-like circular borders that focus our gaze. Whether descriptive of change or constancy, Bridgland's work keys into our desire to remember and relive, and plays upon our tendency to elevate our shared memories with the rose-tinted, wistful spectacles we don when thinking of the past, as well as the future. His depictions of identity and belonging, nostalgia and emotion give to his work a hugely personal aspect, and are influenced by a graphic and visual tradition that is quite specific to Britain. Yet his subtle combinations of image and related text play on everyone's perceptions of shared occasions. Perhaps then it is the delicately précised power of the experiences he attempts to capture that make Bridgland's work so accessible to all. Text by Matthew Reeves, Independent Curator and Curator of East Wing Nine at the Courtauld Institute of the Arts. For more information on the work of Adam Brigland go tohttps://adambridgland.co.uk Kensington + Chelsea Art Week (KCAW) is delighted to present its fifth annual Public Art Trail. West London will be brought to life with vibrant and immersive public art, free for all to enjoy for the duration of the summer.Opening on 18 June, the Public Art Trail will feature world-class sculpture, installations and exhibits throughout the borough. Presented across nine zones, the Art Trail will take up residence at some of West London's most beautiful and iconic sites. For more information on the Kensington + Chelsea Art Week go tohttps:// www.kcaw.co.uk | @kcawlondon To Support this podcast from as little as £3 per month: www.patreon/ministryofarts For full line up of confirmed artists go to https://www.ministryofarts.orgEmail: ministryofartsorg@gmail.comSocial Media: @ministryofartsorg Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

This week we hear from Julian Stallabrass, Professor of Modern and Contemporary Art at the Courtauld Institute of Art, University of London. Julian has written a new book, Killing for Show: Photography, War, and the Media in Vietnam and Iraq, published by Rowman & Littlefield Publishers in 2020. We discuss the role of photography in war reporting, the weaponization of photographers and the press more broadly by the U.S. government during the war in Iraq, and how technological change has bought new ways of covering and seeing conflict.

We had to take a little break this week so are offering a repost of our musings about the allure of pleats, the history of pleating, and our favourite designer examples of pleats. See links below. Please check out our Patreon page: https://www.patreon.com/bandeapartpodcast Vogue, Sacai, Resort 2019: https://www.vogue.com/fashion-shows/resort-2019/sacai/slideshow/collection#34 Lassner Plissee, History of Plissee (in German): http://lassner-plissee.de/Geschichte/geschichte.html Business of Fashion, 'Inside Chanel's Subsidiary, Lognon, Pleater' (2015): www.youtube.com/watch?v=h_GU0uOgNrc Refinery29, 'How a Dior Dress is Made' (2015): www.youtube.com/watch?v=FT1Fc92-eFY The Hunt Museum, Sybil Connolly, online exhibition (2018): www.huntmuseum.com/explore-the-exhibition/ Elizabeth Kutesko, 'How Can We Decolonise Fashion History? A Case Study: the Guarani-Kaiowá, Mato Grosso do Sul, Brazil', Research Forum, Courtauld Institute (8/2/2019): https://courtauld.ac.uk/whats-on/how-can-we-decolonise-fashion-history-a-case-study-the-guarani-kaiowa-mato-grosso-do-sul-brazil/ Elizabeth Kutesko, 'Fashioning Brazil Globalization and the Representation of Brazilian Dress in National Geographic' (2018): www.bloomsbury.com/uk/fashioning-b…-9781350026605/

Meg Mason is the latest in our series of interviews with authors shortlisted for the Women's Prize for Fiction. Her novel Sorrow and Bliss is narrated by Martha, a woman whose path in life is shaped by her mental health. Katie Puckrick and Diran Adebayo join us to review the screen adaptation of John Wyndham's fable, The Midwich Cuckoos, the Edvard Munch Masterpieces from Bergen exhibition at The Courtauld Institute and Pistol, Danny Boyle's new drama about the Sex Pistols.

In the autumn of 2014, the Royal Air Force released blurry video of a missile blowing up a pick-up truck that may have had a weapon attached to its flatbed. This was a lethal form of gesture politics: to send a £9-million bomber from Cyprus to Iraq and back, burning £35,000 an hour in fuel, to launch a smart missile costing £100,000 to destroy a truck or, rather, to create a video that shows it being destroyed. Some lives are ended—it is impossible to tell whose—so that the government can pretend that it taking effective action by creating a high-budget snuff movie. This is killing for show. Since the Vietnam War the way we see conflict – through film, photographs, and pixels – has had a powerful impact on the political fortunes of the campaign, and the way that war has been conducted. In Killing for Show: Photography, War, and the Media in Vietnam and Iraq (Rowman and Littlefield, 2020), Julian Stallabrass tells the story of post-war conflict, how it was recorded and remembered through its iconic photography. Through accounts of events such as My Lai massacre, the violent suppression of insurgent Fallujah, or the atrocities in Abu Ghraib, Stallabrass maps a comprehensive theoretical re-evaluation of the relationship between war, politics and visual culture. Julian Stallabrass talks to Pierre d'Alancaisez about the inescapable complicity of photography and media in warfare, the technical and social evolution of images as lethal weapons, and their changing role as witnesses or propaganda documents. Julian Stallabrass is an art historian, photographer, curator, and professor at the Courtauld Institute of Art. Thomas Dworzak's Taliban studio photographs Documentary on Eugenie Goldberg's Open Shutters of Iraq Execution of Nguyễn Văn Lém, photographed by Eddie Adams Lisa Barnard James Bridle's Dronestagram Omer Fast's 5000 feet is the Best  Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the autumn of 2014, the Royal Air Force released blurry video of a missile blowing up a pick-up truck that may have had a weapon attached to its flatbed. This was a lethal form of gesture politics: to send a £9-million bomber from Cyprus to Iraq and back, burning £35,000 an hour in fuel, to launch a smart missile costing £100,000 to destroy a truck or, rather, to create a video that shows it being destroyed. Some lives are ended—it is impossible to tell whose—so that the government can pretend that it taking effective action by creating a high-budget snuff movie. This is killing for show. Since the Vietnam War the way we see conflict – through film, photographs, and pixels – has had a powerful impact on the political fortunes of the campaign, and the way that war has been conducted. In Killing for Show: Photography, War, and the Media in Vietnam and Iraq (Rowman and Littlefield, 2020), Julian Stallabrass tells the story of post-war conflict, how it was recorded and remembered through its iconic photography. Through accounts of events such as My Lai massacre, the violent suppression of insurgent Fallujah, or the atrocities in Abu Ghraib, Stallabrass maps a comprehensive theoretical re-evaluation of the relationship between war, politics and visual culture. Julian Stallabrass talks to Pierre d'Alancaisez about the inescapable complicity of photography and media in warfare, the technical and social evolution of images as lethal weapons, and their changing role as witnesses or propaganda documents. Julian Stallabrass is an art historian, photographer, curator, and professor at the Courtauld Institute of Art. Thomas Dworzak's Taliban studio photographs Documentary on Eugenie Goldberg's Open Shutters of Iraq Execution of Nguyễn Văn Lém, photographed by Eddie Adams Lisa Barnard James Bridle's Dronestagram Omer Fast's 5000 feet is the Best  Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In the autumn of 2014, the Royal Air Force released blurry video of a missile blowing up a pick-up truck that may have had a weapon attached to its flatbed. This was a lethal form of gesture politics: to send a £9-million bomber from Cyprus to Iraq and back, burning £35,000 an hour in fuel, to launch a smart missile costing £100,000 to destroy a truck or, rather, to create a video that shows it being destroyed. Some lives are ended—it is impossible to tell whose—so that the government can pretend that it taking effective action by creating a high-budget snuff movie. This is killing for show. Since the Vietnam War the way we see conflict – through film, photographs, and pixels – has had a powerful impact on the political fortunes of the campaign, and the way that war has been conducted. In Killing for Show: Photography, War, and the Media in Vietnam and Iraq (Rowman and Littlefield, 2020), Julian Stallabrass tells the story of post-war conflict, how it was recorded and remembered through its iconic photography. Through accounts of events such as My Lai massacre, the violent suppression of insurgent Fallujah, or the atrocities in Abu Ghraib, Stallabrass maps a comprehensive theoretical re-evaluation of the relationship between war, politics and visual culture. Julian Stallabrass talks to Pierre d'Alancaisez about the inescapable complicity of photography and media in warfare, the technical and social evolution of images as lethal weapons, and their changing role as witnesses or propaganda documents. Julian Stallabrass is an art historian, photographer, curator, and professor at the Courtauld Institute of Art. Thomas Dworzak's Taliban studio photographs Documentary on Eugenie Goldberg's Open Shutters of Iraq Execution of Nguyễn Văn Lém, photographed by Eddie Adams Lisa Barnard James Bridle's Dronestagram Omer Fast's 5000 feet is the Best  Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

Sanskrit संस्कृतम् is the sound nature makes when intending form, function or phenomena.Sanskrit reflects the vibratory patterns that govern the universe.It links the human brain and mind to the vibratory field of Cosmic Intelligence.Two human brains and minds that Sanskrit and Vedic chanting have absorbed into are this episode's guests: Jahnavī and Kamalā, two sisters who were raised in the foothills of the Himalayas, spending their childhood learning from Vedic sages and scholars in India.These young women are strongly influenced by Vedic philosophy and culture, they are absolutely living the Vedic life, and are sharing it with the world.Even beginners in Sanskrit can learn various mantras and terminology that will greatly expand our understanding of ourselves, other creatures and the entire universe.IN THIS EPISODE WE DISCUSS: