Podcasts about government art collection

Liminal Gallery Podcast host, Louise Fitzjohn, speaks with internationally renowned contemporary artist Laura Ford, to coincide with her solo exhibition ' ‘Little Lords' in Liminal Gallery's Main Space in Margate. The exhibition showcases a collection of sculptural and wall-based works which explore the boundaries between desire and imposition, inviting viewers into the realm of play and imagination. Laura Ford's 'Little Lords' sculptures take centre stage, portraying three boy-like figures adorned in vibrant, parrot-inspired costumes. The figures exude a conspiratorial charisma, commanding attention with their playful yet enigmatic presence. While mimicking the stances of superheroes, their concealed identities add an air of tension, prompting viewers to ponder the question: who are they? Ford's multifarious practice combines playful craftsmanship with acute social commentary. ‘Little Lords' provides an immersive experience, where visitors can engage with the sculptures' intricate details and delve into the artist's exploration of identity, fantasy, and the human condition. Ford's significant contributions to the art world are reflected in her inclusion in prestigious public collections, including Tate, The Victoria and Albert Museum, and the Government Art Collection. Laura Ford has represented Wales in the Venice Biennale and has exhibited in solo and group shows around the world.Visit the Online Viewing Room here:https://www.liminal-gallery.com/laura-ford-little-lordsContact us for all questions and enquiries: info@liminal-gallery.comFollow us on Instagram: @liminal_gallery Hosted on Acast. See acast.com/privacy for more information.

Students from Salisbury Sixth Form College explore a diverse range of subjects in this conversation with Charlotte Verity. These include the exactitude of oil painting, the importance of observation, and issues inherent in her work such as memory and the passing of time.‘Charlotte Verity's practice is ultimately concerned with mapping the ephemerality of her immediate surroundings. The way nature fluctuates, the seasons, the weather, the light – the life cycle of the plant life around us. As Verity works from her garden and studio, her subjects, taken from the natural world, are painted slowly over weeks and months. Vanishing moments are captured permanently. Each painting or print holds a narrative about the passage of time, an appreciation for the small marvels that can be found in nature. The curve of a stem, the colour of a flower, the formation of its petals, the matrix of branches and mass of leaves, all these delicate ecosystems of life that are moving through cycles that are both colossal and invisible.Charlotte Verity (b. 1954), until recently worked and lived in London, and since 2022, in Somerset. After studying at the Slade School of Fine Art she was awarded the Slade Prize and Boise Travelling Scholarship. Her work resides in major private and public collections that include Arts Council England; Derby Museum and Art Gallery; the British Museum; Government Art Collection; Deutsche Bank; Garden Museum, London; Museum of Contemporary Art, San Diego; Sir John Soane's Museum, London; Tate, and University College London. She has exhibited widely, most recently two solo exhibitions, Echoing Green at Karsten Schubert in London, and The Season's Ebb at the New Art Centre in Salisbury.' (Source, New Art Centre website https://www.sculpture.uk.com/charlotte-verity)Find out more about Charlotte Verity here: https://www.charlotteverity.co.ukThe Roche Court Educational Trust works with over 6,000 children, young people and specialist groups annually, at both the Sculpture Park and elsewhere. We encourage an exploration of modern and contemporary art through our specialist looking, thinking & speaking approach.As an independent charity, we rely on donations to deliver our program. For further details of how to support our work, please visit our website here.   Follow us on Instagram https://www.instagram.com/_ilovesculpture/ Thanks to: Dan Coggins and Zach James for co-producing this episode. Thanks also to the New Art Centre, Karsten Schubert Gallery and especially, Charlotte Verity, for generously giving her time. This podcast has been generously funded by RSA Catalyst Award and The Arts Society Wessex.Image credit; Charlotte VerityPonder (Plumbago), 2020Oil on canvas90.3 x 150.5 x 3.1 cm2ft 11 ½ x 4ft 11 ¼ x 1 ¼ in.

We meet painter KATY MORAN to discuss More Me, the artist's first presentation in Australia to date, showcasing her signature style of painting that defies and dispels traditional genres of landscape, portraiture or still life, instead, existing as free, gestural explorations of colour and line. Moran's practice hovers in a productive space between figuration and abstraction. She paints over canvases found in flea markets and charity shops, blurring the found images beneath her layers of paint, evoking a deliberate sense of nostalgia and longing, as if unravelling a distant memory.Katy Moran's paintings reflect a responsive working process: shifting or rotating the canvas while painting, reworking textures, and reconsidering the shapes and figures that emerge. With this approach to painting along with the inclusion of collage, often partially obscured, her work conveys a deliberate tension between materiality and subject. Moran creates a dynamic push and pull between the addition and the removal of paint; some works exhibit thick application of paint, while in others the painterly gesture is removed with rags dipped in varnish or even by sanding. Via the oscillation between representation and abstraction, composition and narrative, texture and space, Moran engages thought and sense simultaneously.Follow @KatyMoran123 on Instagram and visit her gallery Modern Art: https://modernart.net/artists/katy-moranKaty Moran's new exhibition More Me is now open and runs until 1st April at Station, Melbourne, Australia.Visit https://stationgallery.comKaty Moran lives and works in Hertfordshire. She was born in Manchester in 1975 and completed an MA Fine Art in painting at the Royal College of Art, London in 2005. Moran's work has been the subject of solo exhibitions at Parasol Unit for Contemporary Art, London (2015); the Douglas Hyde Gallery, Dublin (2013); Wexner Center for the Arts, Columbus (2010); Tate St. Ives (2009); and Middlesbrough Institute of Modern Art, UK (2008). Her work has been featured in group exhibitions at Tate St. Ives (2018); Aspen Art Museum (2015); Walker Art Center, Minneapolis (2013); SFMOMA (2012); and Tate Britain, London (2008). Her work is included in important public and private collections including Arts Council Collection, London; David Roberts Art Foundation; Government Art Collection, London; The Rachofsky Collection, Dallas; Royal College of Art, London; Tate; SFMOMA; and Walker Art Center; Yale Center for British Art, New Haven; and Zabludowicz Collection. Hosted on Acast. See acast.com/privacy for more information.

Join us ‘in conversation' with Laura Ford and GCSE Art students from Pewsey Vale school, discussing topics including the impact of childhood upon Ford's career, her experience as a woman artist, and in particular, her intriguing sculpture ‘Espaliered Girl' previously on display at Roche Court Sculpture Park.Ford's work often combines a sense of playfulness, suggested by her representation of children and fantasy, with uncomfortable and unnerving undertones. Her child-like sculptures are hybrid creatures with strange, faceless heads that convey a political message and speak to Ford's feminist agenda.Laura Ford has had solo exhibitions worldwide in countries such as Spain, Germany, the USA and even at the New Art Centre, Roche Court Sculpture Park. In 2004, Ford represented Wales in the Venice Biennale and her work is shown in many public collections including the Tate, V&A and the Government Art Collection.The Roche Court Educational Trust works with over 6,000 children, young people and specialist groups annually, at both the Sculpture Park and elsewhere. We encourage an exploration of modern and contemporary art through our specialist looking, thinking & speaking approach.As an independent charity, we rely on donations to deliver our program. For further details of how to support our work, please visit our website at: https://rochecourteducationaltrust.co.uk/support-us/ Follow us on Instagram https://www.instagram.com/_ilovesculpture/ For more information on Laura Ford, follow this link: LAURA FORDThanks to: Dan Coggins and Zach James for co-producing this episode. Thanks also to the New Art Centre and finally, Laura Ford, for generously giving up her time. This podcast has been generously funded by RSA Catalyst Award and The Arts Society Wessex.Image: Laura Ford, Espaliered Girl, 2007, copyright Laura Ford and New Art Centre.

Talk Art series 13 continues!!! We meet British sculptor and contemporary visual artist Hew Locke. The artist shares the inspiration behind his decades of work and reflects on the process of making his new and exciting large-scale installation 2022 Tate Britain Commission, The Procession.A procession is part and parcel of the cycle of life; people gather and move together to celebrate, worship, protest, mourn, escape or even to better themselves. This is the heart of this ambitious new project. The Procession invites visitors to ‘reflect on the cycles of history, and the ebb and flow of cultures, people and finance and power.' Tate Britain's founder was art lover and sugar refining magnate Henry Tate. In the installation Locke says he ‘makes links with the historical after-effects of the sugar business, almost drawing out of the walls of the building,' also revisiting his artistic journey so far, including for example work with statues, share certificates, cardboard, rising sea levels, Carnival and the military.Throughout, visitors will see figures who travel through space and time. Here, they carry historical and cultural baggage, from evidence of global financial and violent colonial control embellished on their clothes and banners, alongside powerful images of some of the disappearing colonial architecture of Locke's childhood in Guyana.The installation takes inspiration from real events and histories but overall, the figures invite us to walk alongside them, into an enlarged vision of an imagined future."What I try to do in my work is mix ideas of attraction and ideas of discomfort – colourful and attractive, but strangely, scarily surreal at the same time." Hew Locke.Locke was born in Edinburgh, UK, in 1959; lived from 1966 to 1980 in Georgetown, Guyana; and is currently based in London. He obtained a B.A. Fine Art in Falmouth (1988) and an M.A. Sculpture at the Royal College of Art, London (1994). In 2000 he won both a Paul Hamlyn Award and an East International Award.His work is represented in many collections including those of the The Government Art Collection, The Pérez Art Museum Miami, The Tate Gallery, The Arts Council of England, The National Trust, The Metropolitan Museum of Art, New York, The Brooklyn Museum, New York, 21c, The New Art Gallery Walsall, The Victoria & Albert Museum, The Imperial War Museum, The British Museum and The Henry Moore Institute, Leeds.Follow @HewDJLocke on Instagram and visit his official website: http://www.hewlocke.net/Learn more about his new installation at Tate, it's free to visit until 22nd January 2023: https://www.tate.org.uk/whats-on/tate-britain/hew-locke See acast.com/privacy for privacy and opt-out information.

On Practice: Cooking asks how cooking can bring people together and provide nourishment and care? What are the ways that cooking together can open up difficult conversations - about racism, colonialism and migration?  This episode highlights artist Jasleen Kaur's collaboration with women from the Portman Early Childhood Centre through the Changing Play project Everyday Resistance, and includes Yogyakarta based artist and researcher Elia Nurvista's reflections on food and power, and researcher and cook Fozia Ismail speaking about food as resistance. On Practice is produced by Reduced Listening. Image Credit: Joy Yamusangie.  Show Notes Over the last year through the pandemic, we've seen more than ever how our individual actions impact others, how we're all interdependent. This three-part podcast series explores the practices that can sustain us individually and collectively – Cooking, Listening and Walking - and how they can be used to bring people together to work towards change. Hosts Amal Khalaf and Alex Thorp welcome artists, collaborators and friends to explore ideas and projects developed as part of Serpentine's Education and Civic programme, which connect communities, artists and activists to generate responses to pressing social issues. These are projects that have been developed in collaboration with people, centred on the body, the city, and exploring the injustices we experience in our everyday life. Hear from Jasleen Kaur, Elia Nurvista, Fozia Ismail, Ain Bailey, Micro Rainbow, Portman Early Childhood Centre, Ultra-red, Ximena Alarcón, Sam Curtis, Tim Ingold, Voice of Domestic Workers and Katouche Goll. Each of the three episodes are accompanied by an exercise, kindly shared by the artists, an invitation to join their practice. Jasleen Kaur was born in Glasgow and is now based in London. Her work is an ongoing exploration into the malleability of culture and the layering of social histories within the material and immaterial things that surround us. Her practice examines diasporic identity and hierarchies of history, both colonial and personal. She works with sculpture, video and writing. Recent and forthcoming presentations include exhibitions and projects at the Wellcome Collection, UP Projects, Glasgow Women's Library, Market Gallery, BALTIC Centre for Contemporary Art, Eastside Projects and Hollybush Gardens. Her work is part of the permanent collections of the Government Art Collection, Touchstones Rochdale and the Crafts Council. https://youtu.be/1j5XreNGtYk?t=1644  https://www.serpentinegalleries.org/whats-on/everyday-resistance/  Instagram: @_jasleen.kaur_ Fozia Ismail, scholar, cook and founder of Arawelo Eats, a platform for exploring politics, identity and colonialism through East African food. Ismail is a researcher writing about race and British identity and has spoken at the Oxford Symposium on Food & Cookery, designed workshops with Keep It Complex, Jerwood Project Space and the Museum of London using food as a method to think through issues around race and empire in Britain today. Fozia is also part of Dhaquan Collective, a feminist art collective of Somali women, centering the voices of womxn and elders in the community, and privileging co-creation and collaboration. She was a City Fellow for the Arnolfini, Bristol in 2019.  Her work has been published and featured in a range of media including Observer Food Magazine, Oxford Symposium on Food & Cookery and BBC Radio 4 Food Programme.   https://www.dhaqan.org/  https://www.serpentinegalleries.org/whats-on/radical-kitchen-2018-fozia-ismail-chilli/ https://www.araweloeats.com/  https://oxfordculturalcollective.com/fozia-ismail-food-as-resistance/  https://www.youtube.com/watch?v=3BfCuBZdhlc&list=PLbP2rruaw4OvyHmG5tYtqgtJ67xIJ5rOf&index=1  Instagram: @arawelo_eats Elia Nurvista is an artist who lives and works in Yogyakarta, Indonesia whose practice focuses on food production and distribution and its broader social and historical implications. Food in various forms — from the planting of crops, to the act of eating and the sharing of recipes — are Nurvista's entry point to exploring issues of economics, labour, politics, culture and gender. Her practice is also concerned with the intersection between food and commodities, and their relationship to colonialism, economic and political power, and status. She runs Bakudapan, a food study group that undertakes community and research projects, and her social research forms the background of her individual projects, presented through mixed media installations, food workshops and group discussion. Her previous installations use a range of materials from crystalline sugar sculptures to sacks of rice, often incorporating video or mural painting and an element of audience interaction. www.elianurvista.com www.bakudapan.com Instagram: @elianurvista

The fourth episode follows the journey of the Government Art Collection artworks from the moment of the attack in 2011 to their return to London for conservation and then back again to Tehran where they were re-installed in February 2019. It features discussions with Alejandra Echenique de Hopton (FCO); Rob Macaire, Her Majesty's Ambassador to Iran; and Andrew Parrat, Head of Collection Care (GAC).

Welcome to Episode 3 of INFM's podcast for Invisible Numbers (http://www.invisiblenumbers.co.uk/about.html)This episode sees our Host Rebecca Booker (aka https://dj-tbx.com ) delve into the mind of local street artist Holy Bat Pants (http://pennylickers.com) as he lays down his three tracks for her Heron Island Discs section. We also catch up with Co Founder Hannah Ford for a long awaited chit chat about her work with the Government Art Collection and Artillery who deliver the infamous E17 Art Trail due to take place this June. Lots of exciting and interesting events and the usual bits and bobs. Music by Grounding, Trinity FM, Mr. President, Aphex Twin, The Pointer Sisters, Dolly Parton, The gap Band and more...get yo groove on!

Demeaning, poorly paid and tedious: life as an Order Picker in Amazon’s ‘fulfilment centre’ in Rugeley, Staffordshire was a draining, revelatory ordeal for writer James Bloodworth, who worked there undercover in 2016.In this enlightening interview with Olly, he reveals how being an ‘associate’ in Amazon’s warehouse meant enduring ten-hour shifts, tethered to an electronic device, walking up to fifteen miles per day; treated with suspicion, and effectively paid under the minimum wage.(James’s book, ‘Hired: Six Months Undercover In Low-Wage Britain’, is out now).In this week’s Zeitgeist, Ollie Peart has news of the return of the mullet, is concerned with how technology is corrupting our memories - and triumphantly answers his challenge to spend £100 on displaying his face somewhere impressive… in Slough.Meanwhile, down The Foxhole, Alix Fox explains why the law needs to change regarding ‘upskirting’, how your beard could carry an STI, and advises a listener seeking stealthy, quiet ‘battery-operated boyfriends’.The Foxhole is sponsored by our friends at MyCondom.com - visit their website now for an astonishing range of toys and products, and get 15% Off when you use our code, ‘Foxhole’.If you have a question of sex for next week’s show, or a challenge for Ollie Peart to partake in, don’t hesitate to reach out via our website, ModernMann.co.uk.Elsewhere, in this week’s Lifehack, Jessica Cerasi, curator of the Government Art Collection, offers up her Top 3 tips on how to get the most out of a visit to an art exhibition: read up, bring a friend, and spend longer than you think you want to actually looking at the art! Jessica’s book, ‘Who's Afraid of Contemporary Art?’, is out now.Finally, our record of the week is ‘Beware The Beast’ by Carpenter Brut. It’s available to stream now.Enjoy the show? Support the show! Buy us a beer, review us on iTunes, donate via PayPal, submit an idea for a future episode or just tell your friends about us on social media… All links are on our website, ModernMann.co.ukSee You Next Tuesday!Presenter: Olly Mann. Contributors: Ollie Peart, Alix Fox, James Bloodworth, Jessica Cerasi, Carpenter Brut. Producer: Matt Hill. Theme Music: 'Skies Over Cairo' by Django Django. Graphic Design: Jenny Mann Design. Copyright: Olly Mann / Rethink Audio 2018. See acast.com/privacy for privacy and opt-out information.

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

Sir David Jason; Meryl Streep on the Iron Lady; director David Fincher on his version of The Girl With The Dragon Tattoo; historian Simon Schama selects his pick of works from the Government Art Collection; and Front Row's choice of the season's most tolerable songs.

With John Wilson. Historian Simon Schama has selected his pick of works from the Government Art Collection for an exhibition at the Whitechapel Gallery. While hanging the exhibition, he reveals how his choices were inspired by the British romance with travelling. Dame Edna Everage, Ann Widdecombe and Vanilla Ice are all making their pantomime debuts this year. Danny Robins has seen all three and considers the qualities needed for panto success. A large crane has been lowering a new art project onto the roof of the Queen Elizabeth Hall on London's South Bank today. Created by artist Fiona Banner and architect David Kohn, A Room for London is designed to look like a boat, and is going to be available for people to live and sleep in for a night. The Artangel/Living Architecture project will be there for the whole of 2012. John reports from the site. Producer Philippa Ritchie.

Karen Pierce, former UK Deputy Permanent Representative to the United Nations, talks about the works of art on display in her official residence in New York during the time she was working there. Pierce was filmed in London, in front of Yinka Shonibare’s Nelson’s Ship in a Bottle, a work in the Government Art Collection that seems appropriate in the context of the United Nations, given its issues of globalisation and cultural identity. Pierce explains how art can help to lend a sense of permanence to the British presence in New York and plays a vital diplomatic role through emphasising connections between the US and the UK.

An interview with Michael Arthur, British Ambassador to Germany. In this podcast Michael Arthur, UK Ambassador to Germany 2007--2010, is interviewed by Penny Johnson, the Director of the Government Art Collection in Berlin. Filmed in two parts, the first part of the interview takes place in the British Embassy near the Brandenburg Gate on Wilhelmstrasse and concludes in the Ambassador's Residence. The discussion focuses on some of the works of art currently on display in both buildings. The Embassy itself is a very striking, colourful, modern building and was designed in 2000 by Michael Wilford, one of Britain's leading architects.

The UK Government Art Collection was invited by the Foreign & Commonwealth Office in 2006 to commission art for the British Embassy in Sana'a, Yemen. Here, the commissioned artist Jenny West, discusses her sculpture featuring over 1000 suspended plumb bobs. For more go to: http://www.gac.culture.gov.uk

The UK Government Art Collection was invited by the Foreign & Commonwealth Office in 2007 to commission art for the British Embassy in Doha, Qatar. Here, the commissioned artist Jonathan Parsons, discusses his project which evolved from his fascination with maps of the region. For more go to: http://www.gac.culture.gov.uk

In this interview for the Government Art Collections podcast series, artist Frank Bowling RA discusses the influences on his painting in the Collection, including the landscape of Guyana and 1960s Abstract Expressionism. For more go to: http://www.gac.culture.gov.uk

When starting work on Print for a Politician in 2005, Grayson Perry had "...a fantasy of the print hanging on the wall of a politicians office". In November 2009 this became reality when he saw his work displayed in the office of the Arts Minister, Margaret Hodge in our Department, DCMS. For this podcast he dressed as Claire, his famous alter ego, in a splendid appliquéd coat and striking shoes, Grayson answered questions about the context for his print, speaking engagingly about the ideas behind the work, most notably that This print is about a contemplative call for a balanced view of the world. For more go to http://www.gac.culture.gov.uk

In this audio interview, which took place on 21 October 2009 in Natalie Dower’s London studio, the artist discusses how her work has developed over a long career.