Podcast appearances and mentions of Lubaina Himid

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

Lubaina Himid by Lisson Gallery

In this special episode, historian Corinne Fowler joins EMPIRE LINES live with visual artist and researcher Ingrid Pollard, linking rural British landscapes, buildings, and houses, to global histories of transatlantic slavery, through their book, Our Island Stories: Country Walks Through Colonial Britain (2024).Though integral to national identity in Britain, the countryside is rarely seen as having anything to do with British colonialism. In Our Island Stories, historian Corinne Fowler brings together rural life and colonial rule, through ten country walks with various companions. These journeys combine local and global history, connecting the Cotswolds to Calcutta, Dolgellau to Virginia, and Grasmere to Canton. They also highlight how the British Empire transformed rural lives, whether in Welsh sheep farms or Cornish copper mines, presenting both opportunity and exploitation.Corinne explains how the booming profits of overseas colonial activities directly contributed to enclosure, land clearances, and dispossession in England. They highlight how these histories, usually considered separately, persist in the lives of their descendants and our landscapes today. We explore the two-way flows of colonial plant cultures, as evident in WIlliam Wordsworth's 19th century poems about daffodils, as contemporary works of literature by Chinua Achebe and Grace Nichols.Contemporary artist - and walking companion - Ingrid Pollard shares their research into ferns, seeds, and magic, across Northumberland, the Lake District, and South West England, Ingrid details histories of lacemaking in Devon and Cornwall, and we explore representations of ‘African' and Caribbean flowers in art. Bringing together Ingrid and Corinne's works, installed at the exhibition, Invasion Ecology, at Southcombe Barn on Dartmoor, we also explore their previous collaborations including the project, Colonial Countryside: National Trust Houses Reimagined. Plus, Corinne questions ‘cancel culture' in the British media and academia, drawing on their experiences as Professor of Colonialism and Heritage in Museum Studies at the University of Leicester.Our Island Stories: Country Walks Through Colonial Britain by Corinne Fowler is published by Penguin, and available in all good bookshops and online. You can pre-order the paperback, released on 1 May 2025. This episode was recorded live as part of the programme for Invasion Ecology, co-curated by Jelena Sofronijevic for Radical Ecology, and Vashti Cassinelli at Southcombe Barn, an arts space and gardens on Dartmoor. The central group exhibition, featuring Ingrid Pollard, Iman Datoo, Hanna Tuulikki, Ashish Ghadiali, Fern Leigh Albert, and Ashanti Hare, ran from 1 June to 10 August 2024.The wider programme featured anti-colonial talks and workshops with exhibiting artists, writers, researchers, and gardeners, reimagining more empathic connections between humans, plants, animals, and landscapes. For more information, follow ⁠⁠⁠⁠⁠Radical Ecology⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠Southcombe Barn⁠⁠⁠⁠⁠ on social media, and visit: ⁠⁠⁠⁠radicalecology.earth/events/invasion-ecology-exhibition⁠⁠⁠⁠.Watch the full video conversation online, via Radical Ecology: https://vimeo.com/995929731And find all the links in the first Instagram post: https://www.instagram.com/p/C8cyHX2I28You can also listen to the ⁠⁠⁠⁠⁠EMPIRE LINES x Invasion Ecology Spotify playlist⁠⁠⁠⁠⁠, for episodes with Paul Gilroy, Lubaina Himid, Johny Pitts, and Imani Jacqueline Brown, plus partners from the University of Exeter, KARST, CAST, and the Eden Project in Cornwall.PRODUCER: Jelena Sofronijevic.Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

Artist Hanna Tuulikki connects plantation landscapes in Finland, Scotland, and across the South West of England, making kin across species and with birds, via Avi-Alarm (2023). ⁠Invasion Ecology⁠ is co-curated by Jelena Sofronijevic for Radical Ecology, and Vashti Cassinelli at Southcombe Barn, an arts space and gardens on Dartmoor. The central group exhibition, featuring Ingrid Pollard, Iman Datoo, Hanna Tuulikki, Ashish Ghadiali, Fern Leigh Albert, and Ashanti Hare, runs from 1 June to 10 August 2024. The wider programme includes anti-colonial talks and workshops with exhibiting artists, writers, researchers, and gardeners, reimagining more empathic connections between humans, plants, animals, and landscapes. Ingrid will join EMPIRE LINES in conversation with Corinne Fowler, Professor of Colonialism and Heritage in Museum Studies at the University of Leicester, Director of Colonial Countryside: National Trust Houses Reinterpreted, and author of ⁠Our Island Stories: Country Walks through Colonial Britain (2024)⁠, in July 2024. For more information, follow ⁠Radical Ecology⁠ and ⁠Southcombe Barn⁠ on social media. You can also listen to the ⁠EMPIRE LINES x Invasion Ecology Spotify playlist⁠, for episodes with Paul Gilroy, Lubaina Himid, Johny Pitts, and Imani Jacqueline Brown, plus partners from the University of Exeter, KARST, CAST, and the Eden Project in Cornwall. IMAGES: Jassy Earl. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

Lifting stress and learning those slick tricks - it's time to put the art in a room! Episode 4 - We're building some momentum now, it's about time we started thinking about how the art is going to look in the room! This episode we talk to Ann Bukantas, former Head of Fine Art at National Museums Liverpool, former Curator of Ferens Art Gallery in Hull and Curator of many modern and contemporary art exhibitions at the Walker Art Gallery in Liverpool including exhibitions by Ben Johnson, Wolfgang Tillmans, John Kirby, Robyn Woolston, David Hockney, Catherine Opie, Lubaina Himid and Sean Scully. Curation, what's it all about? Listen on! Tune in every Friday for the next step in our guide, tips and tricks to bring your creative idea to life and to learn about the industry from some of the best!

Curator Ekow Eshun reframes the Black figure in historic and contemporary art, surveying its presences, absences, and representations in Western/European art history, the African diaspora, and beyond, via The Time is Always Now (2024). In 1956, the American author James Baldwin wrote: ‘There is never time in the future in which we will work out our salvation. The challenge is in the moment, the time is always now.' Heeding Baldwin's urgent call, Ekow Eshun's new exhibition brings together 22 leading contemporary African diasporic artists from the UK and the US, whose practices emphasise the Black figure through mediums such as painting, drawing, and sculpture. These figurative artists and artworks address difficult histories like slavery, colonialism, and racism and, at the same time, speak to contemporary experiences of Blackness from their own personal perspectives. Ekow explains how artists like Kerry James Marshall, Amy Sherald, and Thomas J. Price acknowledge the paradox of race, and the increased cultural visibility and representation of lived experiences. Beyond celebration, though, The Time Is Always Now follow the consequences of these artists' practices, and what is at stake in depicting the Black figure today. We discuss the plurality of perspectives on view, and how fragmented, collage-like works by Nathaniel Mary Quinn, Lorna Simpson, and Titus Kaphar reconsider W.E.B. Du Bois' understanding of ‘double consciousness' (1897) as a burden, to a 21st century vantage point. Ekow shares the real people depicted in Michael Armitage's surrealistic, religious scenes, whilst connecting works with shared motifs from Godfried Donkor's boxers, to Denzil Forrester and Chris Ofili's dancing forms. We talk about how how history is not just in the past, and how we might think more ‘historically from the present'. Plus, we consider the real life relationships in works by Njideka Akunyili Crosby and Jordan Casteel, - and those shared between artists like Henry Taylor and Noah Davis - shifting the gaze from one of looking at, to looking with, Black figures. Starting at the National Portrait Gallery in London, The Time is Always Now: Artists Reframe the Black Figure travels to The Box in Plymouth from 28 June to 29 September 2024. It will then tour to the Philadelphia Museum of Art and North Carolina Museum of Art in the US into 2025. And as promised, some news - this episode announces my appointment as Contemporary Art Curator at The Box in Plymouth. Join me there in conversation with Ekow on Saturday 29 June, and with Hettie Judah, curator and writer of Acts of Creation with exhibiting artists Barbara Walker, Claudette Johnson, and Wangechi Mutu, on Saturday 20 July. You can also join a Bitesize Tour on selected Wednesdays during the exhibition. And you can hear this episode, and more from the artists, on the Bloomberg Connects app by searching ‘The Box Plymouth'. EMPIRE LINES will continue on a fortnightly basis. For more about Claudette Johnson, hear curator (and exhibition text-contributor!) Dorothy Price on And I Have My Own Business in This Skin (1982) at the Courtauld Gallery in London. Listen to Lubaina Himid on Lost Threads (2021, 2023) at the Holburne Museum in Bath. Hear curator Isabella Maidment on Hurvin Anderson's Barbershop series (2006-2023) at the Hepworth Wakefield. Read about that show, and their work in Soulscapes at Dulwich Picture Gallery in London, in recessed.space. Hear Kimathi Donkor on John Singer Sargent's Madame X (1883-1884) and Study of Mme Gautreau (1884) at Tate Britain in London. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

When small displays convey the biggest experiences and stories.... This episode is dedicated to Lubaina Himid's display of drawings and collages for her Turner Prize installation Naming the Money at the Royal Academy.As often, but particularly at the RA, exhibition going is full of encounters, idiosyncratic journeys, rushes and meetings. We explored Himid's biography and other projects, namely her Guardian artist residency.For more information about the project: https://lubainahimid.com/portfolio/naming-the-money/Enjoy this new episode! And follow us at @exhibitionistas_podcast.Music by: Sarturn.

In this special episode, EMPIRE LINES returns to Ingrid Pollard's 2022 exhibition, Carbon Slowly Turning, the first major survey of her career photographing Black experiences beyond the city and urban environments, in the English countryside. It marks the artist's participation in Invasion Ecology, a season of contemporary land art across South West England in summer 2024, questioning what we mean by ‘native' and what it means to belong. Since the 1980s, artist Ingrid Pollard has explored how Black and British identities are socially constructed, often through historical representations of the rural landscape. Born in Georgetown, Guyana, Ingrid draws on English and Caribbean photographic archives, with works crossing the borders of printmaking, sculpture, audio, and video installations. Their practice confronts complex colonial histories, and their legacies in our contemporary lived experiences, especially concerning race, sexuality, and identity. Curated by the artist and Gilane Tawadros, Carbon Slowly Turning led to Pollard's shortlisting for the Turner Prize 2022. From its iteration at the Turner Contemporary in Margate, Ingrid exposes the pre-Windrush propaganda films beneath works like Bow Down and Very Low -123 (2021), her plural influences from Maya Angelou to Muhammad Ali, and playing on popular culture with works in the Self Evident series (1992). As a Stuart Hall Associate Fellow at the University of Sussex, and with a PhD-by-publication, the artist discusses the role of research in her media-based practice. Finally, Ingrid opens her archive of depictions of African figures 'hidden in plain sight' in English towns and villages - from classical portraiture, to ‘Black Boy' pub signs. Ingrid Pollard: Carbon Slowly Turning ran at MK Gallery in Milton Keynes, the Turner Contemporary in Margate, and Tate Liverpool, throughout 2022. The exhibition was supported by the Freelands Foundation and Paul Mellon Centre for Studies in British Art, and the episode first released as part of EMPIRE LINES at 50. Invasion Ecology is co-curated by Jelena Sofronijevic for Radical Ecology, and Vashti Cassinelli at Southcombe Barn, an arts space and gardens on Dartmoor. The central group exhibition, featuring Ingrid Pollard, Iman Datoo, Hanna Tuulikki, Ashish Ghadiali, Fern Leigh Albert, and Ashanti Hare, runs from 1 June to 10 August 2024. The wider programme includes anti-colonial talks and workshops with exhibiting artists, writers, researchers, and gardeners, reimagining more empathic connections between humans, plants, animals, and landscapes. Ingrid will join EMPIRE LINES in conversation with Corinne Fowler, Professor of Colonialism and Heritage in Museum Studies at the University of Leicester, Director of Colonial Countryside: National Trust Houses Reinterpreted, and author of Our Island Stories: Country Walks through Colonial Britain (2024), in July 2024. For more information, follow Radical Ecology and Southcombe Barn on social media. You can also listen to the EMPIRE LINES x Invasion Ecology Spotify playlist, for episodes with Paul Gilroy, Lubaina Himid, Johny Pitts, and Imani Jacqueline Brown, plus partners from the University of Exeter, KARST, CAST, and the Eden Project in Cornwall. Ingrid Pollard's Three Drops of Blood (2022), commissioned by talking on corners (Dr Ella S. Mills and Lorna Rose), also explores representations of ferns, botany, and folk traditions in Devon's historic lace-making industry. First exhibited at Thelma Hubert Gallery in Honiton, it is now part of the permanent collection of The Box in Plymouth, where it will be displayed from 19 October 2024. SOUNDS: no title, Ashish Ghadiali (2024). PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Artist Yinka Shonibare CBE RA, and Hans Ulrich Obrist and Tamsin Hong of The Serpentine Galleries, coat London's historic statues and public monuments with fresh layers of history. For over 30 years, Yinka Shonibare CBE RA has used Western European art history to explore contemporary culture and national identities. With his iconic use of Dutch wax print fabric - inspired by Indonesian batik designs, mass-produced in the Netherlands (and now China) and sold to British colonies in West Africa - he troubles ideas of ‘authentic' ‘African prints'. Painting these colourful patterns on his smaller-scale replicas of sculptures of British figures like Winston Churchill, Robert Clive, and Robert Milligan, he engages with contemporary debates raised in Black Lives Matter (#BLM) and the toppling of slave trader Edward Colston's statue in Bristol. Suspended States, the artist's first London solo exhibition in over 20 years, puts these questions of cultural identity and whiteness, within the modern contexts of globalisation, economics, and art markets. Wind Sculptures speak to movements across borders, other works how architectures of power affect refuge, migration, and the legacies of imperialism in wars, conflict, and peace today. With his Library series, we read into Wole Soyinka, Bisi Silva, and canonised 17th, 18th, and 19th century artists like Diego Velázquez, focussing on Yinka's engagement with Pablo Picasso, modernism, and ‘primitivism'. Hans Ulrich Obrist and Tamsin Hong highlight the connection between the Serpentine's ecological work, and Yinka's new woodcuts and drawings which consider the impact of colonisation on the environment. As a self-described ‘post-colonial hybrid', Yinka details his diasporic social practices, including his Guest Project experimental space in Hackney, and G.A.S. Foundation in Nigeria, and collaborations with young artists and researchers like Leo Robinson, Péjú Oshin, and Alayo Akinkubye. Yinka Shonibare: Suspended States runs at the Serpentine Galleries in London until 1 September 2024. Yinka is also an Invited Artist, and participant in Nigeria Imaginary, the official Nigerian Pavilion, at the 60th Venice Biennale, which runs until 24 November 2024. Part of EMPIRE LINES at Venice, a series of episodes leading to Foreigners Everywhere (Stranieri Ovunque), the 60th Venice Biennale or International Art Exhibition in Italy, in April 2024. For more about Dutch wax fabric and ‘African' textiles, listen to Lubaina Himid on Lost Threads (2021, 2023) at the Holburne Museum in Bath and British Textile Biennial 2021, and the British Museum's Dr. Chris Spring on Thabo, Thabiso and Blackx by Araminta de Clermont (2010)⁠. For more about Nelson's Ship in a Bottle (2010), listen to historicity London, a podcast series of audio walking tours, exploring how cities got to be the way they are. On bronze as the ‘media of history', hear artist Pio Abad on Giolo's Lament (2023) at the Ashmolean Museum in Oxford. And on the globalisation of ‘African' masks, listen to Tate curator Osei Bonsu in the episode about Ndidi Dike's A History of A City in a Box (2019). For more about the Blk Art Group, hear curator Dorothy Price on Claudette Johnson's And I Have My Own Business in This Skin (1982) at the Courtauld Gallery in London. Hear curator Folakunle Oshun, and more about Yinka Shonibare's Diary of a Victorian Dandy (1998), in the episode on Lagos Soundscapes by Emeka Ogboh (2023), at the South London Gallery. Read about Nengi Omuku in this article about Soulscapes at the Dulwich Picture Gallery in London. And for other artists inspired by the port city of Venice, hear John Akomfrah of the British Pavilion (2024) on ⁠Arcadia (2023)⁠ at The Box in Plymouth. WITH: Yinka Shonibare CBE RA, British-Nigerian artist. Hans Ulrich Obrist, Artistic Director, and Tamsin Hong, Exhibitions Curator, at the Serpentine Galleries in London. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠

Art historian and Professor Griselda Pollock traces the memories of contemporary artist women like Sutapa Biswas, one of her students in the 1980s, and the entanglements in feminist, queer, and postcolonial thinking in art schools and universities. Griselda Pollock has long advocated for the critical function of contemporary art - and artists - in society. Whether paintings, drawings, or sculptures, these media can translate the traumatic legacies of colonialism, imperialism, and migration into visual form, and serve as refusals to forget - especially in our memory-effacing digital age. Born in apartheid South Africa, Griselda has lectured in global contexts; at the University of Leeds in the 1980s, she encountered Sutapa Biswas, a ‘force of nature' and one of the institution's first POC art students. She shares her experience of the two-way flows of teaching and learning. Drawing on stills from the artist's new film work Lumen (2021), and historic ‘Housewives with Steak-Knives' (1984-1985), she highlights both Bengali Indian imagery, and motifs of 17th and 18th century Old/Dutch Masters like Vermeer and Rembrandt - and why the artist ‘didn't need Artemisia Gentileschi' when she had the Hindu goddess Kali. Engaging with leaders of the Blk Art Group like Lubaina Himid, Sonia Boyce, and Claudette Johnson, we find connections with the first generation of British artists, born in the UK of migrant parents. Griselda also shares the important work of art historians and academics beyond Western/Europe, like Homi K. Bhabha, Gayatri Chakravorty Spivak, Chandra Mohanty, Catherine de Zegher, and Hiroko Hagewara. We discuss how being open to challenge and conversation, unsettling your own assumptions, denormalising and widening visibility are all ongoing obligations. Still, with Coral Woodbury's paintings, layered atop H.W. Jansen's History of Art (1968), we see how little the education system has changed. Griselda concludes with thoughts on Vincent van Gogh, Paul Gauguin, and challenging the norms of modernist colonial tourism within the confines of free speech and market demand. Medium and Memory, curated by Griselda Pollock, ran at HackelBury Fine Art in London until 18 November 2023. An expanded exhibition of Coral Woodbury's Revised Edition runs until 4 May 2024. Griselda Pollock on Gauguin is published by Thames & Hudson, and available from 28 May 2024. For more from Lubaina Himid, hear the artist on their work Lost Threads (2021, 2023), at the Holburne Museum in Bath: pod.link/1533637675/episode/4322d5fba61b6aed319a973f70d237b0 And read about their recent exhibition at Tate Modern, and work with the Royal Academy (RA) in London, in gowithYamo: gowithyamo.com/blog/the-revolutionary-act-of-walking-in-the-city For more about The Thin Black Line exhibition at the Institute of Contemporary Arts (ICA) in London (1985), hear curator Dorothy Price on Claudette Johnson's And I Have My Own Business in This Skin (1982) at the Courtauld Gallery in London: pod.link/1533637675/episode/707a0e05d3130f658c3473f2fdb559fc For more about the artist Gego, who practiced in Germany and South America, read my article about Measuring Infinity at the Guggenheim Bilbao (2023), in gowithYamo: gowithyamo.com/blog/infinite-viewpoints-gego-at-the-guggenheim-bilbao WITH: Griselda Pollock, Professor of Social and Critical Histories of Art and Director of CentreCATH (Centre for Cultural Analysis, Theory & History) at the University of Leeds. WITH: Griselda Pollock, Professor of Social and Critical Histories of Art and Director of CentreCATH (Centre for Cultural Analysis, Theory & History) at the University of Leeds. She won the Holberg Prize in 2020 for her contributions to feminism in art history and cultural studies, books, and exhibitions. She is the curator of Medium and Memory. ART: ‘Lumen, Sutapa Biswas (2017) and Lubaina Himid, from the Revised Edition series, Coral Woodbury (2023)'. PRODUCER: Jelena Sofronijevic.

Artist and curator Lubaina Himid unravels entangled histories of transatlantic slavery and textile production, across continents, and Britain's museum collections, via Lost Threads (2021, 2023). Lubaina Himid considers herself ‘fundamentally a painter', but textiles have long been part of her life and practice. Had she stayed in Zanzibar, the country of her birth in East Africa, she may have become a kanga designer, following a pattern set by her mother's interest in fashion, and childhood spent around department stores in London. First commissioned by the British Textile Biennial in 2021, and installed in Gawthorpe Hall's Great Barn, her 400m-long work Lost Threads' flows in a manner reflective of the movement of the oceans, seas, and waterways which historically carried raw cotton, spun yarn, and woven textiles between continents, as well as enslaved people from Africa to pick raw cotton in the southern states of America, and workers who migrated from South Asia to operate looms in East Lancashire. Now on display in Bath, the rich Dutch wax fabrics resonate with the portraits on display in the Holburne Museum's collection of 17th and 18th century paintings - symbols of how much of the wealth and prosperity of south-west England has been derived from plantations in the West Indies. Lubaina talks about how the meaning of her work changes as it travels to different contexts, with works interpreted with respect to Indian Ocean histories in the port city of Sharjah, to accessible, participatory works in Cardiff, and across Wales. We consider her ‘creative interventions' in object museums and historic collections, ‘obliterating the beauty' of domestic items like ceramics, and her work with risk-taking curators in ‘regional' and ‘non-conventional' exhibition spaces. We discuss her formative work within the Blk Art group in the 1980s, collaboration with other women, and being the first Black artist to win the Turner Prize in 2017. And drawing on her interests in theatre, Lubaina hints at other collections and seemingly ‘resolved' histories that she'd like to unsettle next. Lubaina Himid: Lost Threads runs at the Holburne Museum in Bath until 21 April 2024. For more about Dutch wax fabric and ‘African' textiles, hear the British Museum's Dr. Chris Spring on Thabo, Thabiso and Blackx, Araminta de Clermont (2010). For more about Claudette Johnson, hear curator Dorothy Price on And I Have My Own Business in This Skin (1982) at the Courtauld Gallery in London. Hear artist Ingrid Pollard on Carbon Slowly Turning (2022) at the Turner Contemporary in Margate. Hear curator Griselda Pollock from Medium and Memory (2023) at HackelBury Fine Art in London. And for more about the wealth of colonial, Caribbean sugar plantations which founded the Holburne Museum, hear Dr. Lou Roper on ⁠Philip Lea and John Seller's A New Map of the Island of Barbados (1686)⁠, an object in its collection. Recommended reading: On Lubaina Himid: gowithyamo.com/blog/the-revolutionary-act-of-walking-in-the-city On Maud Sulter: gowithyamo.com/blog/reclaiming-visual-culture-black-venus-at-somerset-house On Sonia Boyce: gowithyamo.com/blog/feeling-her-way-sonia-boyces-noisy-exhibition On Life Between Islands at Tate Britain: artmag.co.uk/the-caribbean-condensed-life-between-islands-at-the-tate-britain WITH: Lubaina Himid, British artist and curator, and professor of contemporary art at the University of Central Lancashire. Himid was one of the first artists involved in the UK's Black Art movement in the 1980s, and appointed MBE and later CBE for services to Black Women's/Art. She won the Turner Prize in 2017, and continues to produce work globally. ART: ‘Lost Threads, Lubaina Himid (2021, 2023)'. SOUNDS: Super Slow Way, British Textile Biennial (2021). PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Of her work, British artist Lubaina Himid says she is "filling in the gaps of history." Danielle Radojcin travels to The Holburne Museum in Bath to meet her at her new exhibition, Lost Threads, which, like much of her work, addresses the histories and legacies of colonialism and slavery.Himid turns 70 this year. She was born in Zanzibar, but after her father tragically died of malaria when she was just a few months old, her British mother took her to live in the UK, where they settled in London. She eventually studied Theatre Design at Wimbledon College of Art, and the Royal College of Art. Over the course of her career, Himid has aimed to make art that creates a dialogue with her audience - she has said how the patterns in her work are a form of narrative; she has also made a point of championing under-represented artists, especially Black and Asian women. She became a key figure in the 1980s London, “Black art” movement, in which so called black art moved from the margins to the centre of British culture thanks in part to a series of influential exhibitions Himid curated. She was the first Black woman to win the Turner Prize, which she was awarded in 2017, and was elected to the Royal Academy in 2018, the same year she was made a CBE for services to art. Today, she  lives and works in Preston, where she is a professor at the University of Central Lancashire. Himid sat down with me at the Holburne in the midst of the press preview of her new exhibition, in one of the main, very large rooms there, to tell me a bit about her work… Episode artwork: Lubaina Himid, Man in a Pyjama Drawer, 2021 via Hollybush Gardens https://paulineboty.org/Gazelli Art Housemonomediafilms.london

In this episode, art historian and broadcaster Carrie Scott is joined by Turner Prize-winning artist and activist Lubaina Himid, writer Lauren Elkin and Head of Modern and Contemporary African Art at Sotheby's Hannah O'Leary for a conversation exploring modern city life from the perspective of female artists. This podcast was originally a live event, time to highlight the touring exhibition Found Cities, Lost Objects: Women in the City, curated by Himid, which features works from the Arts Council Collection.  To see the works discussed in this episode, or to watch an extended version of this talk, visit https://www.sothebys.com/en/series/sothebys-talks/celebrating-women-artists-in-the-city-with-lubaina-himid And, to step further into the world of Sotheby's, you can visit any of our galleries around the world; they're open to the public. For more information, visit sothebys.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

How do the concepts of home, longing and belonging resonate through works by artists Etel Adnan, Lubaina Himid, Rashed Aereen and Saloua Rouda Choucair? In this episode, Hoor Al Qasimi speaks with curator Omar Kholeif about the themes that percolate through the exhibition ‘In the Heart of Another Country: The Diasporic Imagination Rises', an extensive presentation of works from the Sharjah Art Foundation Collection, which took place from July to September 2023. The episode traces sentiments of memorial and homecoming via a constellation of artistic voices including those of Hayv Kahraman and Anuar Khalifi. Together, our guests explore what it means to think through concepts of mobility, hybridity and diaspora in the current moment–and, specifically, what it means to bring these ideas home to Sharjah.   CREDITS Host Hoor Al Qasimi Guests Omar Kholeif, Hayv Kahraman, Anuar Khalifi Editorial and Content Producers Jyoti Dhar, Kamayani Sharma Sound Producer and Editor Basil Kisswani Artworks Bani Abidi, Memorial to Lost Words (2017-2018); Joana Hadjithomas and Khalil Joreige, The Golden Record (2011) from The Lebanese Rocket Society Special Thanks Nawar Al Qassimi, Hasan Hujairi, Dima Bittard, Asad Siddique, Unnikrishnan SureshSee omnystudio.com/listener for privacy information.

Join curator Omar Kholeif as he walks us through the formal and contextual dimensions of a newly imagined presentation of ‘Zanzibar' (1998–2023), a series of paintings by Lubaina Himid situated within a distinct sound installation created in collaboration with Magda Stawarska. Backstory is available in both audio and video formats. To watch the video on YouTube, click here. CREDITS Host Omar Kholeif Artwork Lubaina Himid and Magda Stawarska, Zanzibar (1998–2023) Editorial and Content Producers Jyoti Dhar, Kamayani Sharma, Mahshid Rafiei Multimedia Producers Dima Bittard, Ward Helal, Shafeek Nalakath Kareem, Unnikrishnan Suresh, Magdi Tawfig Special Thanks Nawar Al Qassimi, Zeina Kattan, Souraya Talal Kreidieh © Sharjah Art Foundation, 2023See omnystudio.com/listener for privacy information.

Backstory explores the story behind an artwork, including its conception, context and meaning in the world. Join curator Omar Kholeif as he speaks about ‘Leave to Cool' (2020), a painting by Lubaina Himid, to learn more about the significance of its imagery, materiality and history. Backstory is available in both audio and video formats. To watch the video on YouTube, click here. CREDITS Host Omar Kholeif Artwork Lubaina Himid, Leave to Cool (2020) Editorial and Content Producers Jyoti Dhar, Kamayani Sharma Multimedia Producers Dima Bittard, Ward Helal, Shafeek Nalakath Kareem, Unnikrishnan Suresh, Magdi Tawfig Special Thanks Nawar Al Qassimi, Mahmoud El Safadi, Zeina Kattan, Souraya Talal Kreidieh © Sharjah Art Foundation, 2023See omnystudio.com/listener for privacy information.

How do visual and sonic forms shape our understanding of a place? How do memories unfold when we encounter these forms in new configurations? In this episode, Hoor Al Qasimi speaks with Turner Prize winning artist Lubaina Himid and Magda Stawarska, known for her practice of ‘inner listening', about their long-standing collaborative practice. Together, they discuss concepts of restlessness, belonging and recognition evoked by the sea, as well as the sounds and images it carries. Tune in to hear more about Himid and Stawarska's creative process and  how presenting their work in Sharjah has revealed new layers of meaning within it.   CREDITS Host Hoor Al Qasimi Guests Lubaina Himid, Magda Stawarska, Omar Kholeif Editorial and Content Producers Jyoti Dhar, Kamayani Sharma, Mahshid Rafiei Sound Producer and Editor Basil Kisswani Artworks Lubaina Himid and Magda Stawarska, Zanzibar (1998–2023); Magda Stawarska, Plan B (2017–2018) and Lost and Found (2023) Special Thanks Nawar Al Qassimi, Hasan Hujairi, Zeina Kattan, Souraya Talal Kreidieh, Asad SiddiqueSee omnystudio.com/listener for privacy information.

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

Stephen Sackur speaks to the Turner Prize winning British artist Lubaina Himid. Her work has always put black people and their stories front and centre. Four decades ago she was seen as a radical, now she is embraced by the establishment. What does that say about modern Britain? (Photo: Artist Lubaina Himid is awarded the Robson Orr Ten Ten Award 2021 and unveils the new work at 11 Downing Street, London. Credit: Tristan Fewings/Getty Images)

Actor Richard Armitage – who starred in North and South and the Hobbit - joins Nick to discuss writing his debut novel, the bio-tech thriller Geneva, which is about to be published in hardback but was originally commissioned as an audio book. Autumn 2023 has seen Opera North launching its first sustainable ‘Green Season'. This includes the world premiere of an ambitious new production, Masque of Might which repurposes the music of composer Henry Purcell in a spectacle of song and dance. We hear from its director Sir David Pountney and soprano Anna Dennis. The Leicester Indie band EasyLife is about to play its last gigs under that name - because the owners of the airline easyJet said their name was too similar to that of the budget airline. EasyGroup confirmed they'd received an agreement from the band saying they would cease using the name after playing at Leicester's 02 Academy and London's Koko. It's not yet known what their new name will be. The Turner prize winning artist Lubaina Himid was once told “black people don't make art”. Part of the 1980s movement of Black and Asian British artists, it was decades before her contribution to the arts was recognised with a CBE. She's now curated an exhibition called A Fine Toothed Comb that looks at the hidden communities of Manchester though her own work and that of other women artists. She steers Nick Ahad around the show and talks about belonging, removing statues and the joys of opera

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

In A Time of One's Own: Histories of Feminism in Contemporary Art (Duke UP, 2022) Catherine Grant examines how contemporary feminist artists are turning to broad histories of feminism ranging from political organizing and artworks from the 1970s to queer art and activism in the 1990s. Exploring artworks from 2002 to 2017 by artists including Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, Pauline Boudry, and Renate Lorenz, Grant maps a revival of feminism that takes up the creative and political implications of forging feminist communities across time and space. Grant characterizes these artists' engagement with feminism as a fannish, autodidactic, and collective form of learning from history. This fandom of feminism allows artists to build relationships with previous feminist ideas, artworks, and communities that reject a generational model and embrace aspects of feminism that might be seen as embarrassing, queer, or anachronistic. Accounting for the growing interest in feminist art, politics, and ideas across generations, Grant demonstrates that for many contemporary feminist artists, the present moment can only be understood through an embodied engagement with history in which feminist pasts are reinhabited and reimagined. Holiday Powers (@holidaypowers) is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. 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 Time of One's Own: Histories of Feminism in Contemporary Art (Duke UP, 2022) Catherine Grant examines how contemporary feminist artists are turning to broad histories of feminism ranging from political organizing and artworks from the 1970s to queer art and activism in the 1990s. Exploring artworks from 2002 to 2017 by artists including Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, Pauline Boudry, and Renate Lorenz, Grant maps a revival of feminism that takes up the creative and political implications of forging feminist communities across time and space. Grant characterizes these artists' engagement with feminism as a fannish, autodidactic, and collective form of learning from history. This fandom of feminism allows artists to build relationships with previous feminist ideas, artworks, and communities that reject a generational model and embrace aspects of feminism that might be seen as embarrassing, queer, or anachronistic. Accounting for the growing interest in feminist art, politics, and ideas across generations, Grant demonstrates that for many contemporary feminist artists, the present moment can only be understood through an embodied engagement with history in which feminist pasts are reinhabited and reimagined. Holiday Powers (@holidaypowers) is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

In A Time of One's Own: Histories of Feminism in Contemporary Art (Duke UP, 2022) Catherine Grant examines how contemporary feminist artists are turning to broad histories of feminism ranging from political organizing and artworks from the 1970s to queer art and activism in the 1990s. Exploring artworks from 2002 to 2017 by artists including Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, Pauline Boudry, and Renate Lorenz, Grant maps a revival of feminism that takes up the creative and political implications of forging feminist communities across time and space. Grant characterizes these artists' engagement with feminism as a fannish, autodidactic, and collective form of learning from history. This fandom of feminism allows artists to build relationships with previous feminist ideas, artworks, and communities that reject a generational model and embrace aspects of feminism that might be seen as embarrassing, queer, or anachronistic. Accounting for the growing interest in feminist art, politics, and ideas across generations, Grant demonstrates that for many contemporary feminist artists, the present moment can only be understood through an embodied engagement with history in which feminist pasts are reinhabited and reimagined. Holiday Powers (@holidaypowers) is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In A Time of One's Own: Histories of Feminism in Contemporary Art (Duke UP, 2022) Catherine Grant examines how contemporary feminist artists are turning to broad histories of feminism ranging from political organizing and artworks from the 1970s to queer art and activism in the 1990s. Exploring artworks from 2002 to 2017 by artists including Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, Pauline Boudry, and Renate Lorenz, Grant maps a revival of feminism that takes up the creative and political implications of forging feminist communities across time and space. Grant characterizes these artists' engagement with feminism as a fannish, autodidactic, and collective form of learning from history. This fandom of feminism allows artists to build relationships with previous feminist ideas, artworks, and communities that reject a generational model and embrace aspects of feminism that might be seen as embarrassing, queer, or anachronistic. Accounting for the growing interest in feminist art, politics, and ideas across generations, Grant demonstrates that for many contemporary feminist artists, the present moment can only be understood through an embodied engagement with history in which feminist pasts are reinhabited and reimagined. Holiday Powers (@holidaypowers) is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In A Time of One's Own: Histories of Feminism in Contemporary Art (Duke UP, 2022) Catherine Grant examines how contemporary feminist artists are turning to broad histories of feminism ranging from political organizing and artworks from the 1970s to queer art and activism in the 1990s. Exploring artworks from 2002 to 2017 by artists including Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, Pauline Boudry, and Renate Lorenz, Grant maps a revival of feminism that takes up the creative and political implications of forging feminist communities across time and space. Grant characterizes these artists' engagement with feminism as a fannish, autodidactic, and collective form of learning from history. This fandom of feminism allows artists to build relationships with previous feminist ideas, artworks, and communities that reject a generational model and embrace aspects of feminism that might be seen as embarrassing, queer, or anachronistic. Accounting for the growing interest in feminist art, politics, and ideas across generations, Grant demonstrates that for many contemporary feminist artists, the present moment can only be understood through an embodied engagement with history in which feminist pasts are reinhabited and reimagined. Holiday Powers (@holidaypowers) is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

WELCOME BACK TO SEASON 9 of The GWA PODCAST! This week, we interview one of the most influential and groundbreaking artists alive, SONIA BOYCE! Born and raised in London, where she still lives today, Boyce has been taking the art world by storm since the 1980s when she and other trailblazing artists – such as Lubaina Himid and Claudette Johnston – emerged collectively onto the art scene as the Black Arts Movement. Putting images of women and their stories centre stage, they exhibited in shows such as Five Black Women in 1983 at the Africa Centre, Thin Black Line at the ICA in 1985, and The Other Story at the Hayward in 1989.  Since then, Boyce's indefatigable practice – spanning drawing, printmaking, photography, installation, video and sound – has constantly evolved, focusing on collaboration, often with an emphasis on improvisation as she works with other artists to create immersive installation environments. Taking on a broader ethos of "collage" and what it means today – both literally and metaphorically – Boyce's practice has brought together a multitude of people, places and perspectives to provoke invaluable conversations about the world we live in today. Often involving sound pieces, when I find myself amongst one of Boyce's works, it becomes easy to lose oneself inside this very special, unusual but gripping world.  Since 2014 Boyce has been a professor of Black Art and Design, at the University of Arts London. In 2016, she was made a Royal Academician, in 2019 received an OBE for her services to art, and of course in 2022 became the winner of the Golden Lion award at the Venice Biennale, which she won for Feeling her Way – an immersive exhibition filled with bejewelled wallpaper and improvisatory song by women musicians – which is currently on view at Turner Contemporary in Margate before travelling to Leeds and later the Yale Centre for British Art.  https://turnercontemporary.org/bio/sonia-boyce/ https://www.tate.org.uk/art/artists/sonia-boyce-obe-794  https://www.theguardian.com/artanddesign/2018/mar/19/hylas-nymphs-manchester-art-gallery-sonia-boyce-interview  https://www.royalacademy.org.uk/article/sonia-boyce-ra-magazine-venice-biennale  https://www.nytimes.com/2022/05/13/arts/design/sonia-boyce-venice-biennale.html https://www.bbc.co.uk/iplayer/episode/m001f0q7/imagine-2022-sonia-boyce-finding-her-voice  Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Research assistant: Viva Ruggi Sound editing by Mikaela Carmichael  Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ -- THIS EPISODE IS GENEROUSLY SUPPORTED BY OCULA: https://ocula.com/

In this bonus episode Gary Mansfield speaks to Gemma Peppe, founder of Art on a Postcard (@artonapostcard) Art on a Postcard (AOAP) raises money for The Hepatitis C Trust towards its campaign to eliminate hepatitis C in the UK by the year 2030. In 2014 Art on a Postcard was intended to be a one off secret postcard auction, but it went so well it has spawned a small industry. Artists and photographers who have taken part in our auctions include Damien Hirst, Gavin Turk, Marc Quinn, Gilbert and George, Peter Blake RA, Hurvin Anderson, Grayson Perry RA, Larry Clark, Martin Parr, Michael Craig Martin RA, Chantal Joffe RA, Joan Snyder, Claudette Johnson, Mali Morris RA, Genieve Figgis, Vanessa Jackson RA, Rebecca Salter RA, Anne Desmet RA, Catherine Opie, Wolfgang Tillmans, Paula Rego, Julian Opie, Hassan Hajajj, Cecily Brown, Harland Miller, Marina Abramović, Florine Démosthène, Lubaina Himid and Jeremy Deller. Almost a decade later, we have a number of outstanding events under our belts including partnerships with The Other Art Fair and Photo London as well our annual outings with Art Car Boot Fair. Our work has also won us awards for our innovative fundraising initiatives.In addition to our auctions we have a print shop which includes a catalogue of contemporary art prints a number of sell out print editions including Hate's Outta Date by Harland Miller. For more information on the work of Art on a Postcard go tohttps://artonapostcard.com To Support this podcast from as little as £3 per month: www.patreon/ministryofarts If you would like to promote your work, exhibition or any other creative project, please contact us at:Social Media: @ministryofartsorgEmail: ministryofartsorg@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Jessica Bell Brown is the Curator and Department Head for Contemporary Art at the Baltimore Museum of Art. Her recent exhibition projects include How Do We Know The World?, Thaddeus Mosley: Forest, Stephanie Syjuco: Vanishing Point (Overlay), and A Movement In Every Direction: Legacies of the Great Migration co-organized with the Mississippi Museum of Art. Prior to the BMA she was the Consulting Curator at Gracie Mansion Conservancy in New York, where she curated She Persists: A Century of Women Artists in New York, 1919-2019 with First Lady Chirlane McCray. Previously, she held roles at the Museum of Modern Art, New York, the Brooklyn Academy of Music, and Creative Time. Her writing has been featured in several artist monographs and catalogues, including Janiva Ellis, Thaddeus Mosley, Baldwin Lee, Lubaina Himid, Matthew Angelo Harrison, as well as Flash Art, Artforum, Art Papers, Hyperallergic, and The Brooklyn Rail.Photo by Christopher MyersAbout A Movement in Every Direction: Legacies of the Great MigrationThe Great Migration (1915–1970) saw more than six million African Americans leave the South for destinations across the United States. This incredible dispersal of people across the country transformed nearly every aspect of Black life and culture. A Movement in Every Direction: Legacies of the Great Migration explores the ways in which its impact reverberates today through newly commissioned works across media by 12 acclaimed Black artists, including Akea Brionne, Mark Bradford,  Zoë Charlton, Larry W. Cook, Torkwase Dyson, Theaster Gates Jr., Allison Janae Hamilton, Leslie Hewitt, Steffani Jemison, Robert Pruitt, Jamea Richmond-Edwards, and Carrie Mae Weems.The exhibition is co-curated by Jessica Bell Brown, Curator and Department Head of Contemporary Art at the BMA and Ryan N. Dennis, Chief Curator and Artistic Director of the Center for Art & Public Exchange (CAPE) at the Mississippi Museum of Art.The exhibition is co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art.This exhibition is supported by a grant from the Ford Foundation.Mentioned in this episode:A Movement in Every Direction: Legacies of the Great MigrationTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

In Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World (Duke UP, 2021), Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton--as both commodity and material--became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"--the textile worn by enslaved plantation workers--to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor. Adam McNeil is a Ph.D. Candidate in History at Rutgers, the State University of New Jersey. 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 Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World (Duke UP, 2021), Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton--as both commodity and material--became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"--the textile worn by enslaved plantation workers--to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor. Adam McNeil is a Ph.D. Candidate in History at Rutgers, the State University of New Jersey. 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 Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World (Duke UP, 2021), Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton--as both commodity and material--became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"--the textile worn by enslaved plantation workers--to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor. Adam McNeil is a Ph.D. Candidate in History at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World (Duke UP, 2021), Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton--as both commodity and material--became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"--the textile worn by enslaved plantation workers--to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor. Adam McNeil is a Ph.D. Candidate in History at Rutgers, the State University of New Jersey. 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 Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World (Duke UP, 2021), Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton--as both commodity and material--became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"--the textile worn by enslaved plantation workers--to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor. Adam McNeil is a Ph.D. Candidate in History at Rutgers, the State University of New Jersey. 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 Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World (Duke UP, 2021), Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton--as both commodity and material--became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"--the textile worn by enslaved plantation workers--to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor. Adam McNeil is a Ph.D. Candidate in History at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

In Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World (Duke UP, 2021), Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton--as both commodity and material--became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"--the textile worn by enslaved plantation workers--to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor. Adam McNeil is a Ph.D. Candidate in History at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices

Une exposition majeure consacrée à lʹœuvre lumineuse et puissante de Lubaina Himid présente, pour la première fois, un survol du travail de lʹartiste britannique, figure influente de lʹart contemporain, de son rôle central dans le mouvement du British Black Art dans les années 1980 jusquʹà lʹobtention du prestigieux Turner Prize en 2017. Nicole Schweizer, curatrice de lʹexposition en partenariat avec la Tate Modern de Londres, est au micro de Florence Grivel. So many dreams, Lubaina Himid, MCBA, Plateforme10, Lausanne, jusquʹau 5 février 2023

Narrating our “Pan-Afrikan” Connections: Claudette Johnson and Marlene Smith in-dialogue with Lubaina Himid Marlene Smith is a multi-disciplinary artist and curator recognised for her research on Black Artists and Modernism in the UK. Claudette Johnson, known for her large-scale figurative drawings, are acknowledged for their ‘defiant' contribution to the study of Black visuality. Both Claudette Johnson and Marlene Smith were co-founders of the East-Midlands based, BLK Group formed in Wolverhampton in 1979, setting the stage for the anti-racist discourse of the British Black arts movement, which would follow the early 1980s. Lubaina Himid is an artist, who spent much of her life working to create space for herself and other Black women in the UK's artistic ecosystem, simultaneously operating as a curator, cultural historian, and as an educator. Here, she speaks to Marlene Smith and Claudette Johnson about the complexities of negotiating one's individual artistic practice, while also giving credence to the effective power of collective movement and action in shaping and nuancing our multiple histories of art. The panel draws its title from an exhibition held at the Herbert Art Gallery and Museum in 1983.  https://www.1-54.com/

Talk Art Season 13 continues with a broadcasting LEGEND!!! We meet Clara Amfo, one of British radio and television's most dynamic voices and faces. An award winning broadcaster, podcaster and television presenter best known for her work on BBC Radio 1, where she hosted the official chart and the world famous Live Lounge. She currently hosts Future Sounds, breaking the new music from rising and established musicians.A little known fact about Clara is that she collects art and is friends with many artists. Her brother also collects art and photography and his record collection even inspired the teenage Clara to get into the artistic side of music - including the album artwork of Lauryn Hill. We discuss the art scene in Accra, the awesome capital of Ghana. We learn about Clara's art collection and why she is an advocate for living with art at home - from postcards to prints to unique paintings! We learn about her new role as Trustee of Royal Academy of Arts in London's Green Park and how she's been brainstorming about how to make art more accessible for everyone.During the pandemic, Clara collaborated with the Serpentine Gallery during their major survey of British-Ghanaian photographer James Barnor. Clara is a big fan of Barnor's work, whose career spans six decades, two continents and numerous photographic genres through his work with studio portraiture, photojournalism, editorial commissions and wider social commentary. Clara also introduces us to the work of Ted Pearce aka Ted's Draws known for illustrations of iconic musicians, as well as Josephine Chime, a contemporary painter who has in recent years created portraits of Clara's mother and father.She remembers an Inspiring studio visit to the Brixton-based artist Abe Odedina. We explore why art exhibitions are the perfect venue for dating and Clara reminisces about memorable exhibitions she's visited such as Faith Ringold, Kehinde Wiley at the National Gallery and Lubaina Himid's current solo exhibition at Tate Modern and the impact that Yinka Ilori's 'Better Days Are Coming I Promise' public artwork had on London during lockdown.Follow Clara on Instagram: @ClaraAmfoVisit her official website: www.claraamfo.comLearn more about the Royal Academy and the Summer Exhibition 2022 at @RoyalAcademyArts See acast.com/privacy for privacy and opt-out information.

This week we chat to James Birch, gallery owner and author of Bacon in Moscow, about his life-long friendship with Francis Bacon, one of Britain's most popular and controversial artists. Having known him since childhood and been a regular Soho drinking companion, James gives us a fascinating often funny and moving insight Bacon's life. He tells us all about his new book, the extraordinary story of taking a Bacon exhibition to Moscow in the late eighties during Perestroika. James also sheds light on the influences behind many of Bacon's paintings showing in the brilliant new exhibition Francis Bacon: Man and Beast at the Royal Academy in London. We also give you a run down on what to see in the art world this month. In London, there are Van Gogh's Self-Portraits at the Courtauld Gallery, Louise Bourgeois at the Hayward Gallery, Helen Frankenthaler at Dulwich Picutre Gallery and Lubaina Himid at Tate Modern. Meanwhile, outside London, there's an exhibition of prints From Hockney to Hamid at Pallant House in Chichester, Audubon's Birds of America opens at the National Museum of Scotland in Edinburgh and Ai Weiwei's exhibition The Liberty of Doubt opens at the wonderful Kettle's Yard in Cambridge. We also suggest a visit to the glorious Yorkshire Sculpture Park to see Full Circle, an exhibition of drawings by David Nash. And our top tip of the week? Beg, steal, cheat, lie, borrow to get to see Eddie Redmayne and Jessie Buckley in Cabaret at the Playhouse Theatre, brilliantly converted into the KitKat Club in 1930's Berlin. Cast changes on 21st March so move fast! Produced by Audio Coast

It's my (ZM) first text of the year! kicking off 2022 with a review of Lubaina Himid's show at Tate Modern. It's also a text about good art, magic, dreams & stories - a love letter for some paintings that transported me. You can find the written version of this text here. Thank you to our Patreon supporters and thank you to all our listeners here - catch u next time xoxoxox

Our guest this week is Visitor Assistant and harbinger of exotic fruits Carmen Webbe.Carmen talks to Meg and Sara about black artists and subjects on display at Leeds Art Gallery, her opinion on works and exhibitions and, most importantly, her experience as a black woman working in a public facing role at an art gallery.Links to things talked about if you'd like to find out more:Five,  by Lubaina Himid (which we say is in our collection - it isn't! Silly us. It's on long loan to Leeds Art Gallery).Melita, by Ronald Ossory Dunlop Visit Ashley Holmes' websiteThere's a case study on the MyLearning website about Retribution by Edward ArmitageListen, subscribe and leave a review on Apple Podcasts, Spotify and all the usual podcast suspects.Support the show (http://museumsandgalleries.leeds.gov.uk/podcast)

After becoming the first Black woman – and the oldest person – ever to win the Turner Prize, British artist Lubaina Himid is now enjoying a retrospective at London's Tate Modern. She's become recognised as one of the most powerful political voices in British contemporary art, creating works about black identity, as well as championing the work of young black British female artists. Mark Coles speaks to those who know her. Presenter: Mark Coles Producer: Chris Flynn

Robert & Russell meet leading curator Ralph Rugoff OBE, the director of London's Hayward Gallery since 2006, and the curator of the 58th Venice Biennale in 2019, titled May You Live in Interesting Times.We explore the Hayward's stunning new exhibition Mixing It Up: Painting Today that brings together 31 contemporary painters who exploit the unique characteristics of their medium to create fresh, compelling works of art that speak to this moment. Approaching painting as a platform for speculative thinking and unexpected conversations, the artists in this exhibition make works that oscillate between observation and invention, depiction and allegory, illusion and materiality.Instead of trying to craft iconic images, they treat the canvas as a site of assemblage where references converge from diverse territories including music, design, advertising, vernacular and documentary photography, viral memes, fashion and cinema, as well as art history. Resonantly ambiguous, their paintings invite viewers to recruit their own imaginations in working out different ways to interpret them, while often questioning how their social reception might shift among different audiences.This extraordinary exhibition includes new and recent works by 31 artists including previous Talk Art guests Alvaro Barrington, Caroline Coon, Somaya Critchlow, Jadé Fadojutimi, Denzil Forrester, Lubaina Himid, Sophie von Hellermann and Rose Wylie.Rugoff was born in New York City and studied semiotics at Brown University. Prior to the Hayward, he was director of the Wattis Institute for Contemporary Arts in San Francisco for nearly six years. Follow @RalphRugoff and @Hayward.Gallery on Instagram. Mixing It Up is now open and runs until 12th December 2021. To buy tickets or Hayward Gallery membership, visit their official website: https://www.southbankcentre.co.uk/whats-on/art-exhibitions/mixing-it-painting-todayFor images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

For our second episode of all-new Season TEN, Russell & Robert meet artist OLIVER HEMSLEY from his studio in Suffolk!!! Warning: this episode features very strong language! We explore the joys of being a dog parent, his adoration for Alan Bennett, David Hockney and Keith Haring, studying at St Martins and his early passion for drawing. We discuss the unprovoked attack in which he was stabbed after a night out dancing at the Joiner's Arms, his resulting paralysis and the long journey to relearning how to draw and making art. We learn about the charity Art Against Knives he helped to found, starting with an exhibition organised by Oliver's friends and fellow Central Saint Martins' students to raise money and awareness a year after he was attacked. The event gained support from some of the biggest names in art and fashion with work donated by Antony Gormley, Tracey Emin, Wolfgang Tillmans and Banksy amongst others. We discover his long friendship with Gilbert & George, who collect his work and are his biggest fans, is admiration for Barbara Hepworth's hospital drawings and the works of Lubaina Himid, Paul Rego, Tracey Emin and Francis Bacon AND SO MUCH MORE!!!!Follow @OliverHemsley on Instagram! Visit Oliver's official website at www.oliverhemsley.co.uk Learn more about the Art Against Knives charity at their website: www.artagainstknives.comWe are SO excited to be back for series 10!! We decided to start it sooner because so many of you have been messaging us and we didn't want to leave you without new episodes!!! We will be with you for the rest of the summer and beyond!!! Also, don't forget to catch up on over 130 one-hour earlier episodes from the Talk Art podcast Seasons 1-9, our treasured archive of creative thinking.TALK ART BOOK is OUT NOW! Visit Waterstone's or The Margate Bookshop to buy our brand new book in the UK or Amazon or Bookshop.org in USA & Canada. Full list of links in our Linktree: https://linktr.ee/TalkArtFor images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

Valeria Facchin is the Project Manager & Assistant Curator ay Fiorucci Art Trust, as well as the co-founder of W21, an on-going participatory art project focusing on post-feminism and intersectional practice in art, science, culture, and technology. She is a curator and researcher specialised in digital art and XR. With a focus on visual studies, her work explores the relationship between bodies, technologies and future ecosystems. She holds an MA in History of Art from Ca' Foscari University, and an MA in Curatorial Museum studies from The Courtauld Institute of Art. She is currently pursuing a specialization in Virtual Reality, Goldsmith University. She is currently working as Assistant Curator to Milovan Farronato at Fiorucci Art Trust, London. As part of the Fiorucci Art Trust team, she is collaborating with institutions such as Serpentine Galleries. Before joining the Fiorucci Art Trust she held curatorial positions, among the others, at the Science Museum and Somerset House, London, and 58. Esposizione Internazionale d'Arte La Biennale di Venezia. Valeria is part of NECS, European Network for Cinema and Media Studies and CAS, Computer Arts Society, and she served as a young trustee of Science Gallery Venice since its inception. She usually speaks in panels and conferences about the use and impact of digital art in contemporary art practice. She is currently developing, as part of Anthropocene Campus – an initiative by HKW and Max Planck Institute in partnership with Ca' Foscari University – a VR art installation, which will take place during the 17th Esposizione Internazionale d'Architettura La Biennale di Venezia. Together with Delanie Linden and Indrani Saha, PhD students from MIT, she founded W21, an on-going participatory art project focusing on post-feminism and intersectional practice in art, science, culture, and technology. In 2021, W21 was selected by the European Commission for innovation in the arts & tech. Valeria has independently curated an array of exhibitions and collaborated, amongst others, with artists including Helen Cammock, Joana Escoval, Mona Hatoum, Susan Hiller, Lubaina Himid, Marysia Lewandowska, Kathy Prendergast, and Lucy Skaer. I LIKE NETWORKING is the mentoring and networking platform for women and non-binary people in the creative industries. Our mentoring programme is now open for applications. Stay in touch with us on Instagram and subscribe to our newsletter to stay in the loop and access many perks. You can also join our community or our supporter's circle.

Russell and Robert meet Lubaina Himid CBE, the Turner Prize winning artist and cultural activist. Born in Zanzibar in 1954, Lubaina Himid is a British painter who has dedicated her four-decades-long career to uncovering marginalised and silenced histories, figures, and cultural expressions. She studied Theatre Design at Wimbledon College of Art and went on to receive an MA in Cultural History from the Royal College of Art. Himid currently lives and works in Preston, UK, and is a professor at the University of Central Lancashire. In Autumn 2021, Himid will present a major monographic exhibition at Tate Modern, London and will also have a solo exhibition at Hollybush Gardens gallery in London.We discuss her influential career in art as artist but also as a mentor and champion of other artist's work. Initially trained in theatre design, Himid is known for her innovative approaches to painting and to social engagement. She has been pivotal in the UK since the 1980s for her contributions to the British Black arts movement, making space for the expression and recognition of Black experience and women’s creativity. Over the last decade, she has earned international recognition for her figurative paintings, which explore overlooked and invisible aspects of history and of contemporary everyday life. In 2017, she was the winner of the Turner Prize and in 2018 she was bestowed with the honorary title of CBE for her contributions to the arts.Current exhibitions include Risquons-Tout, WIELS, Contemporary Art Centre, Brussels. Significant solo exhibitions include Spotlights, Tate Britain, London (2019); The Grab Test, Frans Hals Museum, Haarlem, The Netherlands (2019); Lubaina Himid, CAPC Bordeaux, France (2019); Work From Underneath, New Museum, New York (2019); Gifts to Kings, MRAC Languedoc Roussillon Midi-Pyrénées, Sérignan (2018); Our Kisses are Petals, BALTIC Centre for Contemporary Art, Gateshead (2018); The Truth Is Never Watertight, Badischer Kunstverein, Karlsruhe (2017); Navigation Charts, Spike Island, Bristol (2017); and Invisible Strategies, Modern Art Oxford (2017).Her work is held in various museum and public collections, including Tate; British Council Collection; Arts Council Collection; UK Government Art Collection; Museum Ludwig, Cologne; Victoria & Albert Museum, London; National Museums Liverpool; Whitworth Art Gallery, Manchester; Hammer Museum, Los Angeles; and Rhode Island School of Design, Providence. A monograph, titled Lubaina Himid: Workshop Manual, was released in 2019 from Koenig Books.Special thanks to Lubaina for this enlightening interview, and Lisa Panting & Malin Ståhl of incredible gallery Hollybush Gardens (based in Clerkenwell, London). Follow @LubainaPics and @Hollybush_Gardens on Instagram and their official websites https://lubainahimid.uk/ and https://hollybushgardens.co.uk/For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of... See acast.com/privacy for privacy and opt-out information.

Lubaina Himid CBE is one of the UK’s leading contemporary artists, as well as a curator, writer and Professor of Painting. In this episode we explore the history of Zanzibar and the cultural context which sets the scene for Himid’s work. The history of Zanzibar is of course much more complex than I outline in … Continue reading 51/52 Tanzania – Lubaina Himid

Topics Covered: 30/11/2016: Ackee & Saltish is broadcast on BBC Three https://www.nytimes.com/2015/02/20/magazine/cecile-emeke-isnt-worried-about-hollywood.html https://www.aqnb.com/2017/05/02/exploring-the-multiplicity-of-the-black-experience-in-europe-with-cecile-emekes-strolling/ 01/12/2018: Nine Night makes its West End debut https://www.standard.co.uk/culture/theatre/nine-night-review-natasha-gordon-makes-west-end-history-with-punchy-poignant-family-drama-a4011036.html https://www.nationaltheatre.org.uk/shows/nine-night-at-trafalgar-studios 02/12/2018: Paul ‘Trouble' Anderson dies aged 59 https://mi-soul.com/paul-trouble-anderson-tribute-the-pioneering-dj-has-passed-away/ https://www.theguardian.com/music/2018/dec/13/paul-trouble-anderson-obituary 03/12/1964: Malcolm X speaks at the Oxford Union https://www.jstor.org/stable/pdf/23425460.pdf?refreqid=excelsior%3A56d7096238ffc8e04b75e1085016af63 https://www.historyextra.com/period/modern/malcolm-x-black-power-amid-dreaming-spires/ 04/12/2013: Emmanuel McDonald Bailey dies aged 92 https://www.youtube.com/watch?v=6uwVVl4jCOg https://www.tandfonline.com/doi/full/10.1080/17430437.2015.1133594?scroll=top&needAccess=true 05/12/2017: Lubaina Himid wins the Turner Prize https://www.vogue.co.uk/article/lubaina-himid-turner-prize https://www.theguardian.com/artanddesign/2019/jun/02/lubaina-himid-black-woman-turner-prize-race-bittersweet 06/12/1964: Martin Luther King speaks at St. Paul's Cathedral https://www.theguardian.com/us-news/2014/dec/02/martin-luther-king-in-london-1964-reflections-on-a-landmark-visit https://www.stpauls.co.uk/history-collections/history/history-highlights/martin-luther-king Disclaimer: I do not own any of the audio used in this episode. It is purely for informational purposes under fair use Follow us on Instagram >>>>> https://instagram.com/blackintimepod

In episode 50 (!!!) of The Great Women Artists Podcast, Katy Hessel interviews the legendary, trailblazing, feminist art history ICON, GRISELDA POLLOCK on the pioneering Polish Jewish artist, Alina Szapocznikow.  [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] Author, editor, curator, and Professor, Griselda Pollock's 43-year-plus career as an art historian is nothing short of LEGENDARY. Having co-authored (with Rozsika Parker), “Old Mistresses: Women, Art and Ideology”, written 26 books, and edited many more, Pollock's indefatigable career has seen her spend decades developing an international, queer, postcolonial, feminist analysis of art’s diverse histories. Writing extensively on artists Eva Hesse, Lubaina Himid, Georgia O’Keeffe, to Tracey Emin, Pollock has curated numerous museum exhibitions, made several films, and has two forthcoming publications out for release.  But the reason why we are speaking to Griselda today is because as well as being a social and feminist historian of  19th and 20th century and contemporary art she is also a transdisciplinary cultural analyst focussing in Cultural Studies and Jewish studies, which is where her fantastic, tireless work on the great sculptor, Alina Szapocznikow comes into play. Born in Poland to an intellectual Jewish family of doctors in 1926, Alina Szapocznikow survived internment in concentration camps during the Holocaust as a teenager. [TW: we discuss The Holocaust]. At her liberation in 1945, she moved first to Prague, and then to Paris, where she studied sculpture and took up a job at a stonemasons, and then was forced back to Poland in 1951 after suffering from tuberculosis. When the Polish government loosened controls over creative freedom following Stalin’s death in 1952, Szapocznikow moved into figurative abstraction and then a pioneering form of representation. By the 1960s, she was radically re-conceptualizing sculpture as an intimate record not only of her memory, but also of her own body. First casting parts of the body as fragments, on her return to Paris as part of 'Nouveau Realisme', she began to move into casting bulbous shapes cast in resin from human bellies, lipstick red lips, nipples and lips growing from slender stems like flowers and serving as lamps. Surrounded by an artistic community that included Niki de Saint Phalle and more, in this episode we discuss Szapocznikow's incredible life and career, her involvement in the evolution of new materials and new ways of thinking, whilst simultaneously trying to deal with the horrors of the past – as with her American contemporaries, Eva Hesse, Louise Bourgeois, and Hannah Wilke.  AS's Self Portrait: https://hammer.ucla.edu/exhibitions/2012/alina-szapocznikow-sculpture-undone-1955-1972 Photosculptures (chewing gum): https://hammer.ucla.edu/exhibitions/2012/alina-szapocznikow-sculpture-undone-1955-1972 Lamp works: https://hammer.ucla.edu/exhibitions/2012/alina-szapocznikow-sculpture-undone-1955-1972 Tumour series: https://hammer.ucla.edu/exhibitions/2012/alina-szapocznikow-sculpture-undone-1955-1972 Further images and information: https://www.hauserwirth.com/artists/16711-alina-szapocznikow?modal=media-player&mediaType=artwork&mediaId=16719 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Laura Hendry  Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Episode Forty features Peg Alston. For nearly four decades since establishing Peg Alston Fine Arts, she has emerged as this country’s foremost private dealer specializing in works by African American artists and other artists of African descent, as well as select pieces of traditional African sculpture. In addition to handling art created by gifted emerging and mid-career artists, Peg Alston has sold works by some of the most renowned 20th Century Black masters, including Aaron Douglas, William H. Johnson, Laura Wheeler Waring, William T. Williams, Horace Pippen, Charles White, and Elizabeth Catlett. She has also sold works by some of the leading names on the contemporary scene, among them: Sam Gilliam, Richard Yarde, Betye Saar, Howardena Pindell, Frank Bowling, Ronald Burns, Edward Clark, David Driskell, Al Loving, Lubaina Himid, Oliver Johnson, Faith Ringgold, and Raymond Saunders. Peg Alston emerged on the New York art scene in 1972, a time when art by African Americans was limited. Early giants such as Romare Bearden and Norman Lewis generously served as informal mentors during the beginning stages of her career. Thanks to her keen eye and tastes, commitment to her specialty, and dedication to educating the public through lectures and activism, she has played a pivotal role in cultivating an interest all around the country for investing in African American fine art, and formed close associations with many of today’s most important African American artists. Long active with theStudio Museum in Harlem and many other major New York City cultural institutions, Peg Alston organized some of the first seminars on collecting, appraising and cataloguing African American art. Today, Peg Alston is a member of the Private Dealer’s Association (PADA) and ArtTable, and recently had the honor of being interviewed by History Makers for their visual and oral archival collection. http://www.pegalstonfinearts.com/ https://www.thehistorymakers.org/biography/peg-alston-41 https://www.instagram.com/pegalston/?hl=en

Since its inception, Tate Modern was set to move beyond the canon of western art history into the relatively uncharted waters of the global contemporary. This programme was set to celebrate Tate Modern's 20th anniversary, but was stalled by the lockdown, during which time the role of museums and galleries in a pandemic world have been in the spotlight and Tate has been entreated to decolonise and to deal with its patriarchal past. For Director Frances Morris, there is an urgency to ensure Tate Modern is fit for the future. She talks to artists Lubaina Himid, Sonia Boyce and Suzanne Dhaliwal, psychoanalyst Adam Phillips, critics and curators including Clara Kim and Hammad Nasar and lawyer and activist, Farhana Yamin to understand how Tate can not only explode the canon, but redesign the institution in which art is shown. A Cast Iron Radio production for BBC Radio 3

In episode 33 of The Great Women Artists Podcast, Katy Hessel interviews one of the most groundbreaking, important, and influential artists working in the world today, the Turner-Prize winning artist, LUBAINA HIMID!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] Known for working in painting, drawing, collage, printmaking, cut-outs, and installations, Himid paints onto a variety of surfaces from ceramic to wood which produce objects with performative potential intended to be encountered in a space.  A tireless champion of marginalised voices, Himid has dedicated her thirty-year-plus career to uncovering silenced histories, to valorise ‘the contribution Black people have made to cultural life in Europe for the past several hundred years’. Born in Zanzibar in 1954, Himid moved to Britain with her mother when she was just four months old. She studied Theatre Design at Wimbledon College of Art, and later Royal College of Art. In the 1980s, Lubaina became one of the LEADERS and TRAILBLAZERS of Britain’s Black Arts movement, curating three shows – which we disucss in depth. Living and work in Preston, she is a CBE, a Royal Academician, the winner of the 2017 Turner Prize, and a professor at the University of Central Lancashire; in the collection of the Tate, V&A, Whitworth, Walker Art Gallery, plus more; and has had solo exhibitions at the New Museum in New York, Tate St Ives, Chisenhale, and it has just been announced that Lubaina will have a major solo exhibition at Tate Modern in November 2021.  This is really one of the greatest conversations I have EVER had. I am completely in awe at Lubaina and her BRILLIANT work that remains more present than ever. I really hope you enjoy this episode. This episode is sponsored by Alighieri  https://alighieri.co.uk/ @alighieri_jewellery Use the code: TGWA for 10% off!  Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Amber Miller (@amber_m.iller) Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

In episode 29 of The Great Women Artists Podcast, Katy Hessel interviews THREE brilliant guests: African Art specialist, Helene Love-Allotey, art historian and curator-in-training Chloe Austin, and creator of @arthistorytalks, Emi Eleode.  Last week, six exciting young names in art celebrating Black culture took over @thegreatwomenartists Instagram account. To honour this takeover, this episode, as well as last week's, feature interviews with all six women about their practice and work.  And WOW. Were these women were absolutely incredible to speak with. First up we have Helene Love-Allotey who speaks in depth about her love for the great British artist, Lubaina Himid, and her experience visiting Himid's very moving and important exhibition "Meticulous Observations and Naming the Money". Housed at Liverpool's Walker Art Gallery, this show highlighted how Europe’s wealthy classes spent their money in the 19th century by using enslaved African men and women, which Himid awkwardly and unapologetically portrays in vibrant cut-out sculptures placed amongst the white and male-dominated permanent collection. See more:  https://www.artscouncilcollection.org.uk/exhibition/lubaina-himid-meticulous-observations-and-naming-money @helenaloveallotey Next up is the great Chloe Austin, a curator-in-training at London's Barbican Centre, and Institute of the International Visual Arts (Iniva), a radical visual arts organisation dedicated to developing an artistic programme that reflects on the social and political impact of globalisation, in which we speak at length about. We also discuss the institutions' position and reaction to this movement, as well as the three brilliant artists Deborah Findlater, Rosa-Johan Uddoh, and Elsa James.  See more: https://iniva.org/ https://iniva.org/programme/projects/chatting-in-the-stacks/ https://chloesinternalmonologue.wordpress.com/2020/06/06/black-boxes/ @chloejaaay  And we end with the wonderful Emi Eleode, founder of the Instagram @arthistorytalks, a page that spotlights 4–5 artists from a non-Western country each month. We discuss her own work that plays on art history, her research into the history of dance as a ritual in Brazil, as well as artists Delphine Diallo and Amrita Sher-Gil.  This is one of my favourite episodes EVER of The Great Women Artists Podcast so I hope you enjoy! This episode is sponsored by Alighieri  https://alighieri.co.uk/ @alighieri_jewellery Use the code: TGWA for 10% off!  Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Amber Miller (@amber_m.iller) https://www.thegreatwomenartists.com/

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

Lauren Laverne's castaway is the artist Lubaina Himid. The programme was first broadcast in June 2019.

In today’s episode we’re discussing the radio 4 Desert Island Discs interview with Lubaina Himid, a contemporary artist that won a famous art prize in 2017. We explain some of the adjectives that are used  - Exuberant, bitter-sweet about and devastating and phrasal verbs, such as to wash over and soak up. 

Old Boat / New Money (soundtrack) by Magda Stawarska-Beavan for Lubaina Himid’s Old Boat / New Money consisting of 32 wooden planks, painted in shades of grey leaning like a wave on the wall. With the additional sounds of a tour guide discussing the artists work.

Gwendoline Christie, famous for playing warrior Brienne of Tarth in Game of Thrones, discusses her new stage role as the fairy queen Titania in Nicholas Hytner’s immersive new production of A Midsummer Night’s Dream. Works by Steve McQueen, Lubaina Himid and Yinka Shonibare feature in a new exhibition Get Up, Stand Up Now at Somerset House in London, which explores the impact of 50 years of Black creativity in Britain and beyond. Curator and artist Zak Ové and artist Zoe Bedeaux discuss the themes and goals of the exhibition. The Youth Poet Laureate of the United States, Kara Jackson, and Aisling Fahey, who was London’s Youth Poet Laureate in 2014, discuss what they’ve discovered about each others' cities and the poetry being created there, on an exchange between young Poets Laureate in Chicago and London. Presenter Kirsty Lang Producer Jerome Weatherald

Lubaina Himid is a Turner Prize-winning artist, curator and Professor of Contemporary Art at the University of Central Lancashire. Lubaina was born in Zanzibar in 1954. Her mother was from Britain and her father was originally from the Comoros Islands. He died from malaria when Lubaina was just a few months old, and so she and her mother returned to England. She studied Theatre Design at the Wimbledon College of Art and began organising exhibitions of works by fellow black women artists in the early 1980s as part of the Black Art Movement. Her own work focuses on black identity, often shining a light on the slave trade and the contribution made by the people of the black diaspora. She was the first black woman to win the Turner Prize, and was also its oldest winner, at the age of 63. She was appointed an MBE in 2010 and a CBE in 2018. She lives and works in Preston. BOOK CHOICE: Woman on the Edge of Time by Marge Piercy LUXURY ITEM: An endless supply of self-ironing Japanese shirts CASTAWAY'S FAVOURITE: Suzanne by Nina Simone Presenter: Lauren Laverne Producer: Cathy Drysdale

In conversation with Lubaina Himid Ismail Einashe speaks to the artist Lubaina Himid about the aftermath of winning the Turner Prize, the importance of addressing Europe's colonial history and the representation of people of colour in art and beyond. 

In conversation with Lubaina Himid Ismail Einashe speaks to the artist Lubaina Himid about the aftermath of winning the Turner Prize, the importance of addressing Europe's colonial history and the representation of people of colour in art and beyond. 

With the curator Zoe Whitley at Tate Modern in London. Whitley discusses the women who have inspired her, the importance of diversity in exhibition-making, and why she loves working with artists – including Lubaina Himid, who supervised her PhD, and Cathy Wilkes, whose work she is curating for the British Pavilion at the 58th Venice Biennale.  The Apollo 40 under 40 podcast is presented by Gabrielle Schwarz

Poet and novelist Jackie Kay meets Turner Prize-winning artist Lubaina Himid. Jackie Kay is currently the Scottish Makar or poet laureate. Her first collection, The Adoption Papers, was published in 1991, and drew on her own experience as a black child, adopted at birth by a white couple. Since then she has written prize-winning poetry, stories and fiction, as well as a memoir, Red Dust Road, about tracing and finding her birth parents. In 2017 Lubaina Himid became the first black woman to win the Turner Prize – and its oldest winner, at the age of 63. Her paintings and installations often focus on hidden black history and creativity - so for her work Swallow Hard: The Lancastrian Dinner Service, she overpainted willow pattern plates with images of slavery. She lives and works in Preston and is professor of contemporary art at the University of Central Lancashire. Producer Clare Walker

What does it mean to belong? Artists, writers and poets explore the human stories behind art and belonging.In this episode, we explore what it means to belong. How can art make us feel part of something, how can it help us to connect with ourselves and others? Hear artists, an author and a poet reflect on their experiences of art and belonging.Featuring Tracey Chevalier, Lubaina Himid, Andrew Mashigo, Anahita Razvani-Rad, John Hegley, and Corey Samuel.For more information about the artists and artworks in our collection, visit www.tate.org.ukPhoto: ​​© Rikard Österlund See acast.com/privacy for privacy and opt-out information.

For Lubaina Himid, winning the Turner Prize is recognition for thirty-five years of work as a painter, curator and installation artist. Her work is witty, vibrantly coloured, and provocative; in her most famous work, "Naming the Money", she filled galleries with more than a hundred huge and very beautiful cut-outs of African figures from the past - the forgotten black servants and musicians who were brought back by their slave-masters to live in Britain in the 18th century. Lubaina Himid herself was born in Zanzibar, Tanzania, but came here as a baby, first to Blackpool and then to London. She now lives in Preston, where she's Professor of Contemporary Art at the University of Central Lancashire. She was awarded an MBE for services to black women's art. She says "My work is a mixture of humour, celebration, optimism and fury. I want to challenge the order of things." In Private Passions, she talks about how winning the Turner Prize has changed her perspective, and about how she creates a musical soundtrack to her installations. She pays tribute to her aunt, who played the violin and brought music into the house, and talks honestly about how difficult it was to make a living as a young artist. Musical choices include Bellini, Bruch, Janacek, and Nina Simone. Produced by Elizabeth Burke A Loftus production for BBC Radio 3.

这周我们的话题都和艺术有关～ 首先我们聊聊《至爱梵高》——在节目里我可能把“至爱”对意思理解偏了，后来顿悟——这部完全手绘的动画电影，不过我们主要聊了一下梵高的生平，他的性格，究竟什么导致了他的艺术风格和悲惨结局，以及究竟什么是评判一个伟大艺术家的标准。我们的标题来自片头音乐 Modern Lovers 的 Vincent Van Gogh 里的歌词，并不是我们真的觉得梵高是全世界最糟糕的艺术家，不过我们的一位嘉宾显然对他也有所保留。梵高之后我们讨论了一下备受关注和争议的 Tuner 当代艺术奖，这周刚刚颁给英国女性艺术家 Lubaina Himid。几位嘉宾对 Turner Prize 有很不一样的理解，各抒己见，可能是比较全面的了解一个当代艺术奖的不错方式。最后我们还把话题扯到了中国文化中的哪些元素又可能被挖掘成为了一个改变我们国际形象的酷元素。因为两个话题都和艺术有关，所以梵高还在第二个话题中又出现。最后，岁末到了，我想请大家在和同事朋友聚餐的时候，能拉5个人入坑，甚至帮他们安装播客软件并订阅文化土豆。完成了这个任务的朋友就自动成为了文化土豆的听众大使，请和@益康糯米联系，加入组织。这期的嘉宾是：艺术家龙荻和艺术史学家张宇凌节目中涉及的一些作品和相关信息：电影《挚爱梵高》豆瓣：https://movie.douban.com/subject/25837262/梵高美术馆（有中文版本）网站：https://www.vangoghmuseum.nl/zh/visitor-information-chinese三本比较有影响力的梵高传记，其中两本有中译版Lust for life, Irvin Stone (1934) - 第一本传记，给了世人很多先入为主的梵高特点，1956 年被拍摄为电影中文版：https://book.douban.com/subject/1092149/Van Gogh: A Power Seething by Julian Bell (2015) - 作者是出生于艺术世家的英国艺术家亚马逊英文版：https://www.amazon.cn/dp/B00JXVSNCE/ref=sr_1_2?s=books&ie=UTF8&qid=1513329763&sr=1-2VAN GOGH: The Life By Steven Naifeh and Gregory White Smith (2011) - 这本书第一次提出了梵高可能不是自杀的疑问，在艺术圈引起哗然中文版：https://www.amazon.cn/dp/B0186R7KO2/ref=sr_1_2?s=books&ie=UTF8&qid=1513329795英国作家 Julian Barnes 写的一篇关于梵高的散文伦敦书评：https://www.lrb.co.uk/v37/n15/julian-barnes/selfie-with-sunflowers梵高和弟弟的书信集《梵高手稿》亚马逊：https://www.amazon.cn/dp/B0186RHHRC/ref=sr_1_1?s=books&ie=UTF8&qid=1513329869免费在线版：http://www.webexhibits.org/vangogh/Turner Prize 2017 的颁奖新闻稿http://www.tate.org.uk/whats-on/ferens-art-gallery/exhibition/turner-prize-2017另外我们在Turner Prize提到的很多艺术家的名字，给大家列出来：JMW TunerLubaina HimidGrayson PerryDamien HurstTracy EminWolfgang TillmansAntony GormleyChris OfiliJake & Dino ChapmanYayoi Kusama图书: The Brith of Korean Cool亚马逊：https://www.amazon.cn/dp/1250045118/ref=sr_1_1?ie=UTF8&qid=1513330462&sr=8-1我们还有提到的阿尔勒的教堂叫 The Church of St-Tromphime，在伦敦的美术馆叫 The Wallace Collection。Intro 和 Outro 音乐是 Jonathan Richman and the Modern Lovers 的 Vincent Van Goghhttps://www.youtube.com/watch?v=tHGChLGH52I反馈邮箱：zyifan@icloud.com See acast.com/privacy for privacy and opt-out information.

Matthew Sweet debates the merits of bad films with critics Larushka Ivan-Zadeh and Tim Robey as The Disaster Artist, James Franco's film inspired by cult classic The Room opens in UK cinemas. Plus the power of underground protest, of art and of the mind as we hear from psychologist Tali Sharot, from Jonathan Lerner on his time in the Weathermen, an organisation dedicated to the violent overthrowing of the United States government during the Vietnam era and from Lubaina Himid winner of this year's Turner Prize.Jonathan Lerner's book on his early years is 'Swords in the Kingdom: Reflections of an American Revolutionary' is published now. Tali Sharot is associate professor of cognitive neuroscience in the department of Experimental Psychology at University College London and author of The Influential Mind - What the Brain Reveals About Our Power To Change Others. The Disaster Artist, produced and directed by James Franco, is inspired by the making of Tommy Wiseau's 2003 cult film The Room which became a cult classic. Producer: Fiona McLean

As Simon Rattle announces his first season as Musical Director of the London Symphony Orchestra, Kirsty Lang asks him about his plans. The film Split is a psychological horror by M. Night Shyamalan (The Visit, Sixth Sense). It stars James McAvoy as Kevin Crumb, who suffers from Dissociative Identity Disorder and who exhibits 23 alternate personalities. After kidnapping three teenage girls, there's a race against the clock as his captives try to convince one of his personalities to set them free - before the arrival of the 24th personality, the 'beast'. Writer and psychotherapist Mark Vernon reviews.For the last three decades, artist Lubaina Himid's work has explored historical representations of people from the African diaspora and their cultural contribution to the West. With two big solo shows at Spike Island in Bristol and Modern Art Oxford, Himid talks about making art as an act of political revelation.It doesn't open in London until November, but hip-hop musical Hamilton is the West End's hottest ticket and touts are offering them for up to £2,500 each. Despite a paperless system - audience members have bring a confirmation email, the bank card used and photo ID - tickets made it onto secondary sites within hours of going on sale. Reg Walker, expert on combating ticket sales irregularity, reveals how touts circumvent such safeguards, and the impact on the audience.Roland Schimmelpfennig is Germany's most prolific living dramatist. Responding to the rise of the far right in Europe his play Winter Solstice reveals how Fascism insinuates itself, rather than marches in. He talks about the highly unusual form of the play, in which the characters comment on the action, and how such a subject can be funny.Producer: Julian May.

Hear the curators Lubaina Himid and Paul Goodwin in conversation with artist Claudette Johnson about Tate Britain’s Thin Black Line(s) display, its legacy and relevance for contemporary British culture