Podcasts about Modern Art Oxford

We meet artist Jesse Darling. His multi-disciplinary practice, of sculptures, drawings and objects, considers how bodily subjects are initially formed and continuously reformed through sociopolitical influences.Darling (b. Oxford, UK) draws on his own experience as well as the narratives of history and counter-history. He explores the inherent vulnerability of being a body, and how the inevitable mortality of living things translates to civilizations and structures. Featuring an array of free-floating consumer goods, support devices, liturgical objects, construction materials, fictional characters and mythical symbols, JD's work recontextualizes manmade objects to reveal their precarity. Simultaneously wounded and liberated shapes outwardly bare their frailty and need for care and healing.Jesse Darling is an artist who writes, lives, and works. His research is concerned with the attempt to make visible the unconscious of European petro-colonial modernity through the history of technology and the production of ideology, or the objects and ideas with which we make up the world. In sculpture and installation he has taken up this enquiry using something like a materialist poetics to explore and reimagine the worldmaking values of that modernity. He is also interested in the role of spirituality as a structuring matrix for secular social life, and his practice takes seriously the idea that intuition, dreams, pathologies and folklore all have something important to tell us about the world. If there is a formal theme that runs through his work it is the acknowledgement of fallibility and fungibility as fundamental qualities in living beings, societies and technologies, which extends to the “mortal” quality of empires and ideas as a form of precarious optimism - nothing and no-one is too big to fail. Taking vulnerability and entanglement as a fact of life lends itself to a politics and a practice of community and coalition: Darling has been part of countless community-led projects and organizations and continues to research ways of being-with as praxis. Correspondence and dialogue form an important part of his research process.He has published many texts online and in print, including two chapbooks: VIRGINS, published by Monitor Books (2021), and SHOWGIRLS (Arcadia_Missa publishing, 2023, on the occasion of a Tate film commission for Site Visit). Selected solo exhibitions include Enclosures at Camden Arts Center (2022), No Medals No Ribbons at Modern Art Oxford (2022), Gravity Road at Kunstverein Freiburg (2022), Crevé at Triangle France Astérides (2019), and The Ballad of Saint Jerome at Tate Britain (2018—2019). Darling also participated in the 58th Venice Biennale, and was awarded the Turner Prize in 2023. In 2024, Jesse Darling became Associate Professor at the Ruskin and full-time Tutorial Fellow at St Anne's College.Follow https://bravenewwhat.org/@ArcadiaMissa and @GalerieSultanaViist:https://arcadiamissa.com/jesse-darling/https://galeriesultana.com/artists/jesse-darling Hosted on Acast. See acast.com/privacy for more information.

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. 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

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bibliography Morris, Sarah. "Sarah Morris: 1972." Guggenheim Museum Publications, 2009. This publication provides an overview of Sarah Morris's artistic practice, including her work "1952 (Rings)". Dziewior, Yilmaz. "Sarah Morris: Beijing." Hatje Cantz, 2010. Although this book focuses primarily on Morris's work related to Beijing, it offers insights into her broader artistic themes and influences, which may shed light on "1952 (Rings)". Gioni, Massimiliano, and Sarah Morris. "Sarah Morris: Capital." Charta, 2001. This publication accompanies an exhibition of Morris's work, including "1952 (Rings)". It likely contains critical essays and images related to the artwork. Kamps, Toby, et al. "Sarah Morris: Bye Bye Brazil." Richter Verlag, 2010. While this book centers on Morris's project in Brazil, it could offer contextual information relevant to understanding "1952 (Rings)" in the context of her broader body of work. Morris, Sarah, et al. "Sarah Morris: Los Angeles." JRP|Ringier, 2019. This publication may not directly discuss "1952 (Rings)", but it provides insight into Morris's exploration of urban landscapes and architecture, which are themes present in her work. Obrist, Hans Ulrich, and Sarah Morris. "Sarah Morris." Moderna Museet, 2009. Published in conjunction with an exhibition at the Moderna Museet, this book could contain critical essays and interviews that touch upon "1952 (Rings)". Schwabsky, Barry, et al. "Sarah Morris: Paintings, Drawings, Films." Richter Verlag, 2005. While primarily focusing on Morris's paintings, drawings, and films, this book may provide valuable background information on "1952 (Rings)". Searle, Adrian, et al. "Sarah Morris: Beijing." Modern Art Oxford, 2008. This catalog accompanies an exhibition of Morris's work in Beijing, offering insights into her artistic process and themes, which could aid in understanding "1952 (Rings)". Sirmans, Franklin, and Sarah Morris. "Sarah Morris: Rio." Artangel, 2005. Although centered on Morris's project in Rio de Janeiro, this publication may contain discussions or images that relate to "1952 (Rings)". Tumlir, Jan, et al. "Sarah Morris: Midtown." JRP|Ringier, 2006. While focused on Morris's exploration of Midtown Manhattan, this book could provide useful context for understanding "1952 (Rings)" within the broader scope of her urban-themed works. Find out more at https://three-minute-modernist.pinecast.co

Artist and archivist Pio Abad draws out lines between Oxford, the Americas, and the Philippines, making personal connections with historic collections, and reconstructing networks of trafficking, tattooing, and 20th century dictatorships. Pio Abad's practice is deeply informed by world histories, with a particular focus on the Philippines. Here, he was born and raised in a family of activists, at a time of conflict and corruption under the conjugal dictatorship of Ferdinand and Imelda Marcos (1965-1986). His detailed reconstructions of their collection - acquired under the pseudonyms of Jane Ryan and William Saunders - expose Western/Europe complicities in Asian colonial histories, from Credit Suisse to the American Republican Party, and critique how many museums collect, display, and interpret the objects they hold today. In his first UK exhibition in a decade, titled for Mark Twain's anti-imperial satire, ‘To the Person Sitting in Darkness' (1901), Pio connects both local and global histories. With works across drawing, text, and sculpture, produced in collaboration with his partner, Frances Wadworth Jones, he reengages objects found at the University of Oxford, the Pitt Rivers Museum, St John's College, and Blenheim Palace - with histories often marginalised, ignored, or forgotten. He shares why his works often focus on the body, and how two tiaras, here reproduced in bronze, connect the Romanovs of the Russian Empire, to the Royal Family in the UK, all via Christie's auction house. Pio shares why he often shows alongside other artists, like Carlos Villa, and the political practice of Pacita Abad, a textile artist and his aunt. He talks about the ‘diasporic' objects in this display, his interest in jewellery, and use of media from bronze, to ‘monumental' marble. Finally, Pio suggests how objects are not things, but travelling ‘networks of relationships', challenging binaries of East and West, and historic and contemporary experiences, and locating himself within the archives. Ashmolean NOW: Pio Abad: To Those Sitting in Darkness runs at the Ashmolean Museum in Oxford until 8 September 2024, accompanied by a full exhibition catalogue. Fear of Freedom Makes Us See Ghosts, Pio's forthcoming exhibition book, is co-published by Ateneo Art Gallery and Hato Press, and available online from the end of May 2025. For other artists who've worked with objects in Oxford's museum collections, read about: - Ashmolean NOW: Flora Yukhnovich and Daniel Crews-Chubbs, at the Ashmolean Museum. - Marina Abramović: Gates and Portals, at Modern Art Oxford and the Pitt Rivers Museum. For more about the history of the Spanish Empire in the Philippines, listen to Dr. Stephanie Porras' EMPIRE LINES on an ⁠Ivory Statue of St. Michael the Archangel, Basilica of Guadalupe (17th Century)⁠. And hear Taloi Havini, another artist working with Silverlens Gallery in the Philippines, on Habitat (2017), at Mostyn Gallery for Artes Mundi 10. WITH: Pio Abad, London-based artist, concerned with the personal and political entanglements of objects. His wide-ranging body of work, encompassing drawing, painting, textiles, installation and text, mines alternative or repressed historical events and offers counternarratives that draw out threads of complicity between incidents, ideologies and people. He is also the curator of the estate of his aunt, the Filipino American artist Pacita Abad. 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

This week on the BBC Introducing in Oxfordshire and Berkshire podcast, Dave catches up with Richard Walters to hear about his new album Murmurate.Plus, hear what happened when Alex met Blue Bayou at Modern Art Oxford, there's the latest the Reading / Leeds announcement, and all the latest new music from Oxfordshire and Berkshire.Here's this week's playlist: • Gemma Felicity - CHAOTIC BE GOOD - Crying in the Bathroom Coraland - The New Stuff Gigi Williams - Oh Nina Flabz - Sacrifice Namvula - Dust to Dust Megan Collins - My Body My Soul Waves Rush In - The Man That I Am The Mezz - Chasing Love Nicole Shortland - Out of Town Girl Avamo - Now's The Time Harry McInroy - All the Things You Do The Amazons - How Will I Know? Sweep - Pretty Pretty Marc Burford - Sweetest Summer LYR - Presidentially Yours Richard Walters - Philip Seymour Hoffman Jody and the Jerms - Divine Graham McGregor-Smith - I Could Have Cried Over You Lord Bug - Scab • If you're making music in Oxfordshire and Berkshire, send us your tunes with the BBC Introducing Uploader: https://www.bbc.co.uk/introducing/uploader

The first women's liberation conference in the UK, Miss World protests, the formation of the Brixton Black Women's Group and the politics of who cleans the house are all explored in a new exhibition at Tate Britain. Whilst activism and art linked to ecology by 50 women and gender non-conforming artists are on display at the Barbican Centre in London and eco-feminist Monica Sjöö (1938-2005) is celebrated in a show opening at Modern Art Oxford. Naomi Paxton is joined by the academics Sophie Oliver and Ana Baeza Ruiz, by Alona Pardo curator of the Re/Sisters exhibition at the Barbican, and by Marlene Smith, a member of the BLK art group in Britain, who has helped pull together the Tate show. Producer: Julian Siddle Women in Revolt: Art, Activism and the Women's movement in the UK 1970–1990 runs at Tate Britain until 7 April 2024 Monica Sjöö: The Great Cosmic Mother runs at Modern Art Oxford from 18 November to 25 February 2024 RE/SISTERS A Lens on Gender and Ecology runs at the Barbican Centre, London until Sun 14 Jan 2024 Ana Baeza Ruiz is at Loughborough University working as the Research Associate for the project Feminist Art Making Histories - an oral history of women's art. Sophie Oliver teaches literature at the University of Liverpool, specialising in modernist writing by women and in links between art and writing. Both are New Generation Thinkers on the scheme run by the BBC and the AHRC to put research on the radio.

This week on the BBC Introducing in Oxfordshire and Berkshire podcast, Dave catches up with Sim Anya, Alex is at The Face Bar with Rila's Edge and Mackenzie, Hannah meets up with Joely June before her gig at Modern Art Oxford, plus there's all the latest new music from Oxfordshire and Berkshire. Here's this week's playlist: • Jonny Payne & The Thunder - Santa Cruz Avamo - Fat Girl pecq - Block the Noise The Ascension - I Said What I Said Frannie B - Untouchable Alex Butler - Panama Joely June - Time & Space Jesse Smith - Bruises Holyfield - Sephora Matt Stockl - Yellow Label Hour BUSHROD - Always Wonder The Daybreakers - 40 Acres and the Blues Jack Goldstein - tru love part one JULIETTE - Watch Your Back Wednesday's Wolves - Beast (session) Sim Anya - Losing My Mind Waves Rush In - The Avenue Aidan Reid - Happiness Hurts M WORLD - MOVES (feat Mali Trio) Zack Robertson - Sick And Tired Rila's Edge - The End Rila's Edge - Gold Mackenzie - Ordinary Lewis Bolland - Per Elsa I See Orange - Morbid Charlie PS - Even If It Kills Me • If you're making music in Oxfordshire and Berkshire, send us your tunes with the BBC Introducing Uploader: https://www.bbc.co.uk/introducing/uploader

In this podcast, artist Valerie Asiimwe Amani discusses her first live performance To dismantle a house which was jointly commissioned by the Roberts Institute of Art and South London Gallery and presented in June 2022.RIA and South London Gallery invited Valerie to participate in a new five-week performance residency at South London Gallery. The work she developed whilst in residence presented a multisensory installation and performance that explored the intersection of cultures, reflecting Amani's diverse interests. During the conversation, Amani shares her experience of the residency, her feelings about performing live for the first time and reflects on the impact this experience has had on her artistic practice.Have questions, comments or want to see more of what the Roberts Institute of Art does? Reach us via therobertsinstituteofart.com, @therobertsinstituteofart and subscribe to our newsletter!

Guest artist FLORENCE PEAKE joins ELIZABETH FULLERTON to discuss her multi-faceted, performance-led art practice via 'Stone Butch Blues' 1993 by Leslie Feinberg. It tells the story of life as a butch lesbian in 1970s, working class America and is particularly unique due to the writer gaining full rights to the text, making it fully accessible online and for free. Florence and Elizabeth talk about hysterical clay, collapsing paintings, mark-making without sight, rigid heteronormative conventions, the patriarchy's rule which brings a perpetual fear of violence, butch lesbians in the 70s, drag queens, sex workers and femmes, extractions of earthly matter and energy, the dance floor as a space for belonging and expression, splattering the audience with clay, tenderness and care, finding comfort in the face of shame, and encountering ourselves imaginatively in relationship to objective reality. Please support this podcast via patreon.com/ARTFICTIONSPODCAST FLORENCE PEAKE florencepeake.com insta florence_peake Richard Saltoun Gallery 2023 16 April - 2 July 'Factual Actual Ensemble' at Southwark Park Galleries then touring to Fruitmarket Gallery and Towner Gallery 2023 11 Feb - 7 May 'Earth Spells: Witches of the Anthropocene' at RAM Museum, Exter with Caroline Achaintre, Emma Hart, Kris Lemsalu, Mercedes Mühleisen, Grace Ndiritu, Florence Peake, Kiki Smith, Lucy Stein 2023 18 Feb - 6 May 'Body Poetics' at Giant, Bournemouth with Penny Slinger, Helen Chadwick, Florence Peake, Louise Bourgeois, Judy Chicago, Charlotte Edey, Enam Gbewonyo, Rosie Gibbens, Guerrilla Girls, Evan Ifekoya, Ad Minoliti, Senga Nengudi, Niki De Saint Phalle, Carolee Schneemann, Tai Shani, Kiki Smith, Rae-Yen Song, Holly Stevenson curated by Marcelle Joseph and Bella Pelly-Fry 2021 Factual Actual at National Gallery 2021-22 Crude Care for British Art Show at Aberdeen Art Gallery then touring UK 2019 Apparition Apparition at Venice Biennale 2018 RITE: on this pliant body we slip our WOW! at De La Warr Pavillion 2015 Voicings for Block Universe at Modern Art Oxford, Somerset House ARTISTS + PERFORMERS Cameron Armitage Carolee Schneeman 'Meat Joy' Donald Judd Emma Hart Eve Stainton Fabian Peake Igor Sravinsky 'The Rite of Spring' Gabi Agis Grayson Duitu Jo Moran Jordan McKenzie Kate Bush Lee Bowie Lindsey Kemp Mercedes Grower Michael Clarke 'I am a Curious Orange' Rosemary Butcher Siobhan Davis Studios Tai Shani The Fall Yvonne Rainer BOOKS Juliet Jacques 'Variations' 2021 Carmen Maria Machado 'In the Dreamhouse' 2019 Octavia Butler

This week: are stolen Cambodian statues hidden in the world's great public collections? We discuss Cambodia's looted heritage with Celia Hatton, Asia Pacific editor and presenter at the BBC World Service, whose documentary for BBC TV and radio Cambodia: Returning the Gods exposes the connections between looters, smugglers and, allegedly, some of the world's most famous encyclopaedic museums. Plus, the dark truth behind the art and antiques assembled by the Marcos family in the Philippines as they return to power. We talk to the Filipino artist Pio Abad—who's made art about Ferdinand and Imelda Marcos and their collections for more than a decade—about Bongbong Marcos's presidential election victory in the Philippines and what that means for the country and the art and antiquities seized by its government after the Marcoses were deposed in the 1980s. And in this episode's Work of the Week, we discuss a sculpture by Ruth Asawa—Untitled (S.266, Hanging Seven-Lobed, Multi-Layered Interlocking Continuous Form within a Form) (1961)—a highlight of a new exhibition at Modern Art Oxford in the UK, with Emma Ridgway, the show's co-curator. Remarkably, the solo exhibition is the first in a European institution dedicated to the Japanese-American artist.You can read Celia's report on Cambodian antiquities online at bbc.co.uk. Cambodia: Returning the Gods (radio version) is on the BBC website and the BBC Sounds app—under The Documentary Podcast stream for the World Service and the Crossing Continents podcast stream in the UK—and on other podcast platforms. Cambodia: Returning the Gods (television version) is on iPlayer in the UK and will be shown again on the BBC World news channel, broadcast date tbc—check listings.Pio Abad: Fear of Freedom Makes Us See Ghosts, Ateneo Art Gallery, Ateneo de Manila University, until 30 July, pioabad.com.Ruth Asawa: Citizen of the Universe, Modern Art Oxford, UK, 28 May-21 August; Stavanger Art Museum, Norway, 1 October-22 January 2023. See acast.com/privacy for privacy and opt-out information.

In this episode Gary Mansfield speaks to Amy Jackson (@thisisamyjackson)   Amy Jackson is a conceptual artist with 15 years' experience blending philosophy, nature and science to create meticulous immersive experiences in traditional galleries and unconventional spaces. Her work includes street art, happenings, photography, painting and found objects.     Jackson explores issues such as climate change, consumerism, mental health, social inequalities and critically, how these themes are inextricably linked. Her work often exists outside of the ‘white cube' and inside the communities it touches.     Experience spans art commissions for *Kensington + Chelsea Art Week to public speaking on climate change. Her work has been featured in the Times, Art World Magazine, Modern Art Oxford, Time Out and The Tate Britain.   You can join Amy Jackson for a Live Walking tour and artist talk of the Alternative Art Trail in Portobello as part of the 2021 Kensington + Chelsea Art Week     * Kensington + Chelsea Art Week is expanding throughout the summer season with a festival that elevates the magic and shared experiences of public art and live performance. From 21 June – 31 August, K+C Festival will bring people together to celebrate, inspire, and be inspired - For more information go to https://www.kcaw.co.uk     For more information on the work of Amy Jackson go to https://www.thisisamyjackson.com/   To Support this podcast from as little as £3 per month: www.patreon/ministryofarts   For full line up of confirmed artists go to https://www.ministryofarts.org Email: ministryofartsorg@gmail.com Social Media: @ministryofartsorg

In episode 63 of The Great Women Artists Podcast, Katy Hessel interviews the esteemed curator Emma Ridgway of Modern Art Oxford on the majorly influential, RUTH ASAWA (where she is set to have an exhibition in 2022!!!).  [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] Artist, educator, trailblazer and sculptor, Ruth Asawa is up there with the greatest and most influential artists of the entire 20th century, Best known for her looped-wire sculptures that expand form, defy structure, and blurring all illusions between hard and soft, tall and small, strongand fragile, RuthAsawa's works ranged from colossal to small enough to fit in your hand.   The fourth of seven siblings, Ruth Asawa was brought up on a rural farm in California by immigrant parents of Japanese descent. Curious and energetic, she spent her childhood helping out on the farm by wiring beans, and attending Japanese calligraphy classes. But as it was the 1930s, the racial prejudice against people of Japanese heritage was worsening. Following the attack on Pearl Harbour, around 120,000 Japanese-Americans were placed in internment camps, including a teenage Ruth Asawa. Which in this episode, we speak about in great depth.   But against the demonstrative conditions and dehumanising set up, communities came together.Providing education for the young people in the camps, professional artists stepped up, and Ruth was taught by some of the greatest Disney animators of the day. Shaped by her teachers, Asawa set out to be an educator herself. However, despite training for three years, was denied a job due to racial prejudices.  So, in the summer of 1946, she enrolled at Black MountainCollege, and it was here where she flourished: ‘I spent three years there and encountered great teachers who gave me enough stimulation to last me for the rest of my life.’ Taking classes with Josef and Anni Albers to Buckminster Fuller (whose hair she cut for a bit of extra money!), Asawa took the BMC approach to her career, by inextricably linking art with life, and life with art.  Moving to SF in '49, Asawa's legacy in setting up art education is tough to compete with. And it is there that she still remains an icon, with the Ruth Asawa School of Arts still very much in full swing today.  I am not exaggerating when I say this may be the most extraordinary, hopeful, brilliant story in art history. I really hope you enjoy this as much as I did.   LISTEN NOW + ENJOY!!! FURTHER LINKS! https://www.davidzwirner.com/artists/ruth-asawa https://www.modernartoxford.org.uk/event/citizen-of-the-universe/ https://ruthasawa.com/life/black-mountain-college/ Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Winnie Simon Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ Ruth Asawa: Citizen of the Universe is curated by Emma Ridgway and Vibece Salther, organised in partnership by Modern Art Oxford UK and Stavanger Art Museum Norway, supported by the Terra Foundation for American Art.    Opens 28 May - 21 Aug 2022 at Modern Art Oxford then 1 Oct 2022 - 22 Jan 2023 at Stavanger Art Museum. I CAN'T WAIT!

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.

In episode 45 of The Great Women Artists Podcast, Katy Hessel interviews one of the greatest painters to ever live, the inimitable CECILY BROWN!!!!!   [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] I am SO EXCITED to release this episode which chronicles the UK-born, US-based Brown's incredible painterly career from the 1990s–present day! With her work steeped in art history, referencing the likes of Rubens, to Goya to Bacon and de Kooning, Cecily Brown is known for her all-encompassing, small-to-colossal scale paintings that portray the medium in a continual state of flux, constantly blurring the lines between abstraction and figuration, truth and fiction, liquid and solid.   Always ALIVE with erotic energy, witnessing a Cecily Brown in the flesh is like seeing four-hundred years worth of painting unfold before your eyes. Every corner and inch of the canvas is activated, frenzied and fractured so intensely that you can’t help but project ideas around desire, life, and death, with the painting’s momentous fleshy and battle-like strokes and tones.  Born in the UK in the late 1960s, Cecily Brown was granted a garage to paint by the esteemed British painter (and former GWA Podcast guest) Maggi Hambling, before going on to study at London’s Slade School of Fine Art. And in 1994, after a stint in America two years before, she relocated to New York City, where she has lived ever since, continuing the legacy of the renowned New York School artists.  The subject of solo exhibitions at major institutions around the world, including the MFA Boston, Hirshhorn in Washington, Modern Art Oxford, and my favourite Louisiana Museum in Denmark, as well as countless shows at galleries including Thomas Dane and Paula Cooper, where I have been lucky enough to witness her work, Cecily is considered one of the most influential painters alive right now.  And NOW she has recently opened a staggeringly brilliant exhibition at Blenheim Palace here in England, where she has conceived an entirely new body of work that responds to the Palace’s history, through hunting and battle scenes, as well as a brilliant commentary on the state of Britain right now and the romanticised but complex nature of British society.  FURTHER LINKS! https://www.blenheimpalace.com/whats-on/events/cecily-brown-art-exhibition/ All the Nightmares Came Today, 2012: https://www.artspace.com/cecily_brown/all-the-nightmares-came-today Current exhibition at Paula Cooper Gallery: https://www.paulacoopergallery.com/exhibitions/cecily-brown-2020-10-15/selected-works Louisiana show: https://louisiana.master.re-cph.dk/en/exhibition/cecily-brown https://channel.louisiana.dk/video/cecily-brown-totally-unaware 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/

Amy Jackson is an award-winning conceptual artist and a responsible investment professional based in East London. She studied Fine Art at the Ruskin School of Drawing and Fine Art at the University of Oxford in 2008, later returning to Oxford to study Sustainable Finance. She has 15 years’ experience blending concept, philosophy and nature to create immersive experiences in traditional galleries and unconventional spaces. Jackson’s experience spans public speaking on the environment, climate change and group and solo exhibitions. She has exhibited at Modern Art Oxford and has shows coming up for Uncovered Collective and Kensington + Chelsea Art Week where she will work with marginalised artists to create work responding to climate change and inequality. Her work includes public art, sculpture, installation, performance, digital and street art. --- Send in a voice message: https://anchor.fm/gazaguy/message Support this podcast: https://anchor.fm/gazaguy/support

Watercolorist extraordinaire William (Willy) Matthews stops by the Medicine Man Gallery studio for a special two part interview with host Dr. Mark Sublette. In part TWO, the esteemed Mr. Matthews discusses his time in Europe forging relationships by knocking on doors and playing music, eventually leading to a job at The Museum of Modern Art, Oxford (now Modern Art Oxford). After William returns to the US, he leads a graphic design studio in 1980's Denver for a short period of time, eventually opening his own studio shortly after. Willy's career develops into that of a full-time fine artist, culminating in the owning of his own gallery/studio William Matthews Studio in Denver, CO and leading to the painting of "Los Caballos." The process behind the 63 ft-long mural crowning the newly built Dickies Arena in Ft. Worth, TX and much more in part TWO of this two part interview on the Art Dealer Diaries.

Caryl Churchill's C21st Bluebeard, the fragility of a glass girl and other myths reworked in 4 new short dramas. Jen Harvie discusses the storytelling on stage of one of Britain's leading dramatists. Hetta Howes looks back at American author Rachel Ingalls who died earlier this year aged 78. Her novel Mrs Caliban depicts a lonely housewife who befriends a sea monster.The German born US based artist Kiki Smith has produced sculptures, tapestries and artworks looking at pain and bodily decay and real and imaginary creatures in bronze, glass, gold and ink for her first solo UK exhibition in a public institution in 20 years. Gerald Scarfe has just published Long Drawn Out Trip: My Life moving from his early days at Punch and Private Eye to his designs for Pink Floyd’s The Wall and Disney’s Hercules. He's also putting together an illustrated coffee table book Scarfe: Sixty Years Of Being Rude which will be published in November. Glass, Kill, Bluebeard, Imp 4 short dramas by Caryl Churchill, directed by James MacDonald run at London's Royal Court Theatre from September 18th - October 12th. Kiki Smith: I Am A Wanderer runs at Modern Art Oxford from September 28th to January 19th 2020. Hetta Howes is a New Generation Thinker on the scheme run by the BBC and the Arts and Humanities Research Council which puts academic research onto the radio. She presents our podcast New Thinking which showcases new research. You can find past episodes on topics ranging from the philosophy of pregnancy to the links between dentistry and archaeology by signing up for the BBC Arts&Ideas podcast or looking on the Free Thinking website collection New Research. Producer Zahid Warley

This week on the podcast, Dave catches up with rapper Leonidas Oxford for his first play on the show, we've got a Wiretap session from Worry - recorded live at Safehouse studios, we hear about Modern Art Oxford's summer Yard Sessions, why Witney features in a new Underworld track, and there's excellent new music from EB, Cameron AG, Joley, The Great Western Tears, Joe Grain, The Eyelids, Waterfools, Accord de Voix and Solo Collective.

Cultural Peeps Podcast Episode 4: Emma Thomas Links to Podcast content: Seaton Delaval Hall: https://www.nationaltrust.org.uk/seaton-delaval-hall National Trust: https://www.nationaltrust.org.uk/ Seaton Delaval Hall Redevelopment: Heritage Lottery Fund helps put the drama back into Seaton Delaval Hall (Article): https://www.nationaltrust.org.uk/seaton-delaval-hall/features/heritage-lottery-fund-helps-put-the-drama-back-into-seaton-delaval-hall Christies: https://www.christies.edu/ Tate St Ives: https://www.tate.org.uk/visit/tate-st-ives Museum of Modern Art Oxford: https://www.modernartoxford.org.uk/ The Bluecoat (Liverpool): https://www.thebluecoat.org.uk/ Liverpool Biennial: https://www.biennial.com/ Baltic: http://baltic.art/ Quay at Baltic: http://baltic.art/visit-quay BALTIC publication: learning on the frontline: http://balticplus.uk/baltic-learning-on-the-frontline-c21169/ St Mary’s Heritage Centre: https://www.gateshead.gov.uk/article/4521/St-Mary-s-Heritage-Centre Sune Nordgren: http://www.sunenordgren.com Engage: https://www.engage.org/ NSEAD: http://www.nsead.org/home/index.aspx Northern Architecture: https://www.northernarchitecturelegacy.com/ Don’t forget you can follow the podcast at: Twitter: twitter.com/culturalpeeps Instagram: www.instagram.com/culturalpeeps/ SoundCloud: @culturalpeeps Facebook: www.facebook.com/culturalpeeps/ SoundCloud: https://soundcloud.com/culturalpeeps Blog: https://culturalpeeps.wordpress.com/

An integral part of the Oxford cultural landscape for the last five decades, Modern Art Oxford is renowned for its diverse and progressive artistic programme. Here Director Paul Hobson recounts the history of the gallery, expands upon its remit and tells us about the range of recent community engagement projects. A fascinating discussion that references an eclectic range of innovators from Jackson Pollock to Tracey Emin to currently featured video artist Akram Zaatari.

Mixed Media show ‘Fantastic Cities’ entertains, informs and inspires

This week’s guest is Emma Ridgway, Head of Programme & Chief Curator at Modern Art Oxford. Emma discusses her take on the remit of public art institutions as being an expression of intense emotional responses to the world by artists. For those visiting the gallery, it is a space to reflect and dwell on their responses to the art work through immersing themselves into someone else’s perspective. She also discusses that she sees art being a form of education and not separate from it and reflects on how this informs her process in both programming and curating.

Should we worry about the world getting healthier? Thomas Bollyky thinks we should. Jane Stevens Crawshaw looks at cleanliness and disease in Renaissance cities & Penny Woolcock films Oxford and LA. Rana Mitter presents. For the first time in recorded history, parasites, viruses, bacteria, and other infectious diseases are not the leading cause of death and disability in any region of the world but that doesn't mean our cities are healthier and more prosperous. Jane Steven Crawshaw from Oxford Brookes researches plague hospitals and quarantine. From cleaning up C15th Venice and Milan, Rana Mitter also considers C21st Oxford and Los Angeles in new films by Penny Woolcock which explore their different mythologies. Her recent projects have also included the different responses she and a gang member have walking down the same street and a range of views on personal gun use. Jennifer Ingleheart reveals the books deemed too racy for Oxford undergraduates that were hidden away in the Bodleian Library's Phi Collection. Thomas Bollyky is director of the global health program and senior fellow for global health, economics, and development at the Council on Foreign Relations. His book is called Plagues and the Paradox of Progress: Why the World is Getting Healthier in Worrisome Ways. Fantastic Cities - an exhibition of Penny Woolcock's work runs at Modern Art Oxford until March 2019. The Story of Phi, curated by Jennifer Ingleheart, is at the Bodleian Library until 13th January 2019. Hear more from Penny Woolcock discussing her career at the Free Thinking Festival https://bbc.in/2E31s0U Producer: Torquil MacLeod

The latest production of Macbeth at London's Globe Theatre sees real-life husband and wife, Paul Ready and Michelle Terry play the murderous couple French film The Workshop is about a young people's writer's group where tensions over the plot development spill into the film's own story-line Italian author Elena Ferrante's multi-million selling, globally-successful novels are coming to the TV. My Brilliant Friend has been adapted and directed by Saverio Costanzo: a man! Some avid fans have wondered aloud whether such a female-centric story might be beyond his capabilities. Uwe Johnson's 1800 page meisterwerk Anniversaries was published in 4 parts from 1970 to 1983. It has just been translated into English for the first time - will they delight in its scope? An exhibition at Modern Art Oxford of video work by Penny Woolcock reveals her fascination with the underdog Podcastextra recommendations: Kathryn is a fan of Channel 4's The Secret Life of The Zoo Don was overawed by the majesty of the redwoods in Muir Woods in California Jenny has been reading Kafka's The Unhappiness of Being A Single Man Tom is looking forward to watching The House of Assad on BBC TV Tom Sutcliffe's guests are Don Guttenplan, Kathryn Hughes and Jenny McCartney. The producer is Oliver Jones

Christopher Nolan's film Dunkirk dramatises the many acts of heroism and horror of the evacuation of hundreds of thousands of soldiers during World War 2 from French beaches. Many critics are talking about Oscars, will our reviewers agree? The newest production of Much Ado About Nothing at London's Globe Theatre sets the story during the armed struggles of the Mexican Revolution. Sarah Winman's novel Tin Man is a love story between two boys and a woman who changes their love and their lives; it's about relationships, loss and kindness The first posthumous exhibition of the work of Rose Finn-Kelcey at Modern Art Oxford takes a selective look at the breadth of her work over several decades. The BBC's LGBTQ season marking the 50th anniversary of The Sexual Offences Act, presents Against the Law starring Daniel Mays as Peter Wildeblood, one the defendants in the 1954 Montagu case. Tom Sutcliffe's guests are Lisa Appignanesi, Paul Morley and Alex Clark. The producer is Oliver Jones.

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.

Director of Modern Art Oxford, Paul Hobson, shares his experiences studying Modern History at Brasenose College and talks about how he transitioned into a career in contemporary art. Director of Modern Art Oxford, Paul Hobson, shares his experiences studying Modern History at Brasenose College and talks about how he transitioned into a career in contemporary art. As well as reading Modern History at Oxford University, Paul also completed post-graduate studies in aesthetics and contemporary visual theory. Since then he has worked for more than twenty years in the art world in senior roles for the Contemporary Art Society, The Showroom, the Serpentine Gallery, and Royal Academy of Arts in London. He has been Director of Modern Art Oxford since 2013. In this podcast, he discusses his time as Director of Modern Art as well as other well-known galleries, why he came back to the city after being an undergraduate here, as well as offering advice to prospects and students who are considering a career in arts management.

Tim Minchin's latest musical Groundhog Day is his follow-up to the best-selling triumph of Matilda. Based on the hit film, will this also be a hit? Pedro Almodovar's 20th film, Julieta, is based on 3 short stories by Alice Munro. It was intended as his English language debut to star Meryl Streep. HBO's new TV-noir series The Night Of... tells the story of a Pakistani-American who - after a night of drug-fuelled sex - awakes to discover a corpse and is accused of the murder. Peter Ho Davies' novel The Fortunes tells 4 tales of Chinese-Americans through the 20th and 21st centuries Kaleidoscope: It's Me To The World, is the newest exhibition at Modern Art Oxford. Celebrating 50 years of contemporary art, performance and experimental visual culture Tom Sutcliffe's guests are David Hepworth, Kit Davis and Susan Jeffreys. The producer is Oliver Jones.

Artist Dorothy Cross, author Joanna Kavenna, the cosmologist Jo Dunkley and our second 2016 New Generation Thinker historian Edmund Richardson from Durham University join Matthew Sweet for a programme recorded in Oxford exploring mysticism and its role in a timeless search for reality.Joanna Kavenna's novel A Field Guide to Reality is published at the end of June.Dorothy Cross is displaying art as part of Mystics and Rationalists - it runs from June 11th to August 7th as part of the Kaleidoscope series celebrating 50 years of Modern Art Oxford.Edmund Richardson has published Classical Victorians: Scholars, Scoundrels & Generals in Pursuit of Antiquity.New Generation Thinkers is a scheme run by BBC Radio 3 in partnership with the Arts and Humanities Research Council to find academics who can turn their research into radio programmes. Find out more from our website and hear them introducing their research in the programme which broadcast on May 31st - available as an arts and ideas podcast.Producer: Jacqueline Smith

Matthew Sweet looks at the founding of the Dada movement 100 years ago in Zurich, as the city celebrates the anniversary with a series of exhibitions and cabarets which run throughout the year. New Generation Thinker Will Abberley visits an exhibition in Oxford that plays with our notion of time as Modern Art Oxford begins a year-long celebration of 50 years, Kaleidoscope, with a show called The Indivisible Present. Janet Street Porter and Michael Grade debate when does a celebrity become a 'national treasure', and what exactly does the term mean?

Matthew Sweet looks at the founding of the Dada movement 100 years ago in Zurich, as the city celebrates the anniversary with a series of exhibitions and cabarets which run throughout the year. New Generation Thinker Will Abberley visits an exhibition in Oxford that plays with our notion of time as Modern Art Oxford begins a year-long celebration of 50 years, Kaleidoscope, with a show called The Indivisible Present. Janet Street Porter and Michael Grade debate when does a celebrity become a 'national treasure', and what exactly does the term mean?

Long Matthew Sweet looks at the founding of the Dada movement 100 years ago in Zurich, as the city celebrates the anniversary with a series of exhibitions and cabarets which run throughout the year. New Generation Thinker Will Abberley visits an exhibition in Oxford that plays with our notion of time as Modern Art Oxford begins a year-long celebration of 50 years, Kaleidoscope, with a show called The Indivisible Present. Janet Street Porter and Michael Grade debate when does a celebrity become a 'national treasure', and what exactly does the term mean?

A symposium with Vik Muniz and Michael Govan (Chief Executive Officer and Wallis Annenberg Director, Los Angeles County Museum of Art) Chaired by Paul Hobson (Director, Modern Art Oxford)

Special Lecture at Modern Art Oxford. Part of the Art Across the Black Diaspora: Visualizing Slavery in America An International Symposium.

With Mark Lawson. On the eve of her 80th birthday, Prunella Scales discusses acting roles from Basil Fawlty's wife Sybil in the British comedy Fawlty Towers, to Queen Elizabeth II in the British film A Question of Attribution, and reveals secrets of family life with fellow thespians husband Timothy West and elder son Samuel West. Steve Coogan returns to TV in a one hour special, Alan Partridge: Welcome to The Places of my Life, and his occasional writing partner Armando Iannucci launches Veep, a new TV political sitcom about a woman senator - played by Julia Louis-Dreyfus from Seinfeld - who unexpectedly becomes vice-president (Veep) of the United States. Both are reviewed by Boyd Hilton. Artist Jenny Saville became known in the mid-1990s for monumental and distorted paintings of nude women - after Charles Saatchi bought up her entire post-graduate show. Saville discusses about her first ever solo exhibition in a UK public gallery, which opens at Modern Art Oxford this week and includes works inspired by Leonardo da Vinci. Producer Jerome Weatherald.

Simon Grant, editor of Tate Etc., talks to Daniel Buren about his exhibition Invention II: works in situ at Modern Art Oxford, 4 November 2006 to 28 January 2007.