Podcasts about national gallery

Located in the remains of the 16th-century Palazzo del Pilotta, once the royal residence of the Farnese dukes of Parma, the National Gallery houses one of Italy's premier collections of Renaissance paintings. It includes masterpieces by Fra Angelico, Correggio, Parmigianino, and Leonardo da Vinci. 

Most cultural institutions know games matter. Very few know what to do about it. Kristian Volsing is one of the people who figured it out — and built the path in real time.As part of the V&A's contemporary design team, Kristian co-curated Design/Play/Disrupt, one of the most significant museum exhibitions ever dedicated to game design. He navigated studio NDAs, convinced the National Gallery of Art to lend a Magritte for a game show, and flew a colleague to Kyoto — where Nintendo showed her exactly one meeting room.In this conversation, we go deep on what it actually takes to build a sustainable games program inside a cultural institution: why live events beat collection-building as a starting point, how to work with an industry that guards its IP fiercely, and what experimental game designers actually need from institutions like yours. If you're a champion inside an organization who sees the opportunity but doesn't yet have the authority to act on it — this one is for you.(00:00) - Why Cultural Institutions Can't Afford to Ignore Games Anymore (01:36) - Kristian Volsing's Path From Film Student to V&A Curator (05:27) - How a New Director Opened the Door for Digital Design at the V&A (09:20) - Inside Design/Play/Disrupt: Why Depth Beats the "50 Games on a Wall" Approach (17:32) - Nintendo, NDAs, and What It Actually Takes to Partner With Game Studios (27:55) - The Hard Truth About Collecting and Preserving Digital Work (40:50) - Where Your Institution Should Start: Practical Advice From Someone Who Built the Path For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

What makes a painting unforgettable? And how can art history become something that feels personal, clear, and alive?In this episode of About Art, Heidi Zuckerman speaks with James Payne, writer, curator, educator, and the creator of the internationally beloved YouTube channels Great Art Explained and Great Books Explained.James has reached millions by making art history accessible—stripping away intimidation while preserving depth, nuance, and emotional power. His videos have been shown at institutions including the National Gallery in London and the Albertina Museum in Vienna, and his mission continues to redefine what cultural education can look like in the digital age.Together, Heidi and James discuss storytelling, accessibility, the emotional intelligence of art, and why understanding a work of art can be as thrilling as seeing it.

I am so thrilled to share my 100th episode. To celebrate, I speak with curator Sarah Greenough about my all-time favorite photographer, Robert Frank. Sarah had the privilege of working with Robert when the National Gallery of Art acquired his archive from "The Americans." Such a treat to talk all about my photo hero with someone who knew him and his work so well.

After opening a major building project in May last year and announcing the details of another in September, which is due to open in the early 2030s, the National Gallery in London has revealed, quite unexpectedly, that it has to make serious cuts, including to its staff, in the face of a deficit that could rise to £8.2m in the coming year. Martin Bailey, The Art Newspaper's special correspondent in London, tells us more. In The Hague in the Netherlands, the Mauritshuis has just opened a new exhibition called BIRDS – Curated by The Goldfinch & Simon Schama. Since The Goldfinch, the 17th-century painting by Carel Fabritius, is not able to speak, Schama tells Ben Luke about the show, including Fabritius' remarkable picture. And this episode's Work of the Week is Sunbeams or Sunlight. Dust Motes Dancing in the Sunbeams, Strandgade 30 (1900) by the Danisj painter Vilhelm Hammershøi. The picture is one of the many highlights of a new exhibition, Hammershøi: The Eye that Listens, at the Museo Nacional Thyssen-Bornemisza in Madrid. The curator of the exhibition, Clara Marcellán, joins Ben to discuss the painting.BIRDS – Curated by The Goldfinch & Simon Schama, Mauritshuis, The Hague, The Netherlands, until 7 June.Hammershøi: The Eye that Listens, Museo Nacional Thyssen-Bornemisza, Madrid, until 31 May 2026; Kunsthaus Zürich, 3 July-25 October. Visit the Vilhelm Hammershøi Digital Archive, hammershoi.smk.dk.Buy The Art Newspaper's book The Year Ahead 2026 at theartnewspapershop.com Hosted on Acast. See acast.com/privacy for more information.

In this episode Claire Bown is joined by Georgia Close and Harriet Body from the National Gallery of Australia, alongside Naomi Zouwer from the University of Canberra, to explore how the gallery co-designed its Creative Learning approach.The conversation traces an 18-month process of articulating a shared pedagogical framework shaped by national context, cultural responsibility, and First Nations-led principles. Rather than adopting an existing model, the team worked through workshops, observation, interviews and iterative “campaigns” to develop a cohesive, values-led approach.A key commitment was centring the artist's voice, placing artist intention in conversation with students' existing knowledge. From this, the team developed a Creative Learning strategy planning tool that supports inquiry-led, multimodal, embodied and reflective practice.Across the episode, they explore:How to develop a context-specific learning approach rather than importing a modelWhat it means in practice to centre the artist's voiceHow small, iterative “campaigns” can embed reflective practice in a teamHow multimodality and embodiment deepen engagement beyond discussionWhy joy is understood as a serious pedagogical commitmentWhat co-design and participatory action research look like inside a museum settingThis episode will resonate with anyone working in museums, galleries or cultural institutions who is thinking carefully about pedagogy, reflective practice, and how to articulate an approach that genuinely reflects their context and values.The Art Engager is written and presented by Claire Bown. Editing is by Matt Jacobs and Claire Bown. Music by Richard Bown. Support on PatreonEpisode Links:https://nga.gov.au/learn/our-creative-learning-approach/ The Creative Learning Project Digital Publication: https://nga.gov.au/media/dd/documents/NGA_The_Creative_Learning_Project_Digital_Publication.pdfZouwer, N. & Hamilton, O. (2026). The Creative Learning Project: Defining the National Gallery of Australia's Creative Learning Approach. 10.13140/RG.2.2.35063.28324Zouwer, N., Hamilton, O., Menser Hearn, N., & Ali, I. (2026). Using Practice-Based Methods to Co-create, Define, and Articulate a New Approach to Art Education in the National Gallery of Australia. Australian Journal of Education, 0(0). https://doi.org/10.1177/00049441261421257Georgia Close, Head of Learning, National Gallery of AustraliaHarriet Body, Creative Learning Convenor, National Gallery of AustraliaHarriet Body on LinkedInNaomi Zouwer, artist, teacher, and researcher. Lecturer of Creative Arts Teacher Education and a researcher in the...

Air Date - 18 February 2026What was the power of words in ancient magical practices and how may they be applied to modern manifestation? My guest this week on Destination Unlimited, Enid Baxter Ryce, has assembled a collection of poetic spells and incantations that recount the rich lives of our ancestors, who were connected across cultures by their experience of the world as a magical place, who shared a belief, and who engaged in magical practices for manifestation, prophecy, love, protection, healing, curses, and even vengeance. Enid Baxter Ryce is a writer, artist, and filmmaker who has exhibited at museums internationally, including the National Gallery of Art, the Getty, and the Arnolfini. A descendant of three Salem witches, she comes from a long family history of natural magic practice. Enid has an MFA in visual arts and studied at Cooper Union, Yale University, and Claremont Graduate University. She won the Elizabeth Kray Prize from the Society for American Poets when she graduated from Cooper Union. Enid is currently working on the Getty Foundation Art x Science Initiative project “From the Ground Up: Nurturing Diversity in Hostile Environments,” a forward-looking ethnobotanical study undertaken as the basis of a forthcoming exhibition and an accompanying publication at Armory Center for the Arts. Enid's work has been reviewed in The New York Times, Artforum, ArtReview, the Los Angeles Times, and many other publications.Her website is https://enidryce.com, and she joins me this week to share her path and new book, Ancient Spells and Incantations: Echoes of Magic Through the Ages and Across Cultures.#EnidBaxterRyce #VictorFuhrman #DestinationUnlimited #InterviewsConnect with Victor Fuhrman at https://victorthevoice.com/Visit the Destination Unlimited Show Page https://omtimes.com/iom/shows/destination-unlimited/Subscribe to our Newsletter https://omtimes.com/subscribe-omtimes-magazine/Connect with OMTimes on Facebook https://www.facebook.com/Omtimes.Magazine/ and OMTimes Radio https://www.facebook.com/ConsciousRadiowebtv.OMTimes/Twitter: https://twitter.com/OmTimes/Instagram: https://www.instagram.com/omtimes/LinkedIn: https://www.linkedin.com/company/2798417/Pinterest: https://www.pinterest.com/omtimes/

"Que ma volonté soit faite" de Julia Kowalski avec Maria Wróbel, Roxane Mesquida. La jeune Nawojka, qui vit avec son père et ses frères dans la ferme familiale, cache un terrible secret : un pouvoir monstrueux, qu'elle pense hérité de sa défunte mère, s'éveille chaque fois qu'elle éprouve du désir. Lorsque Sandra, une femme libre et sulfureuse originaire du coin, revient au village, Nawojka est fascinée et ses pouvoirs se manifestent sans quʹelle ne puisse plus rien contrôler. Hommage à Frederick Wiseman Retour sur lʹimmense carrière du grand documentariste décédé à lʹâge de 96 ans, auteur notamment auteur de "Titicut Follies", "Welfare", "Public Housing", "Ex Libris", "National Gallery", "Crazy Horse".

Episode No. 745 is a holiday weekend clips show featuring artist Christina Fernandez. Fernandez is included in "Chicano Camera Culture: A Photographic History, 1966-2026" at the Cheech Marin Center for Chicano Art & Culture of the Riverside (Calif.) Art Museum. The exhibition explores the evolution of Chicana/o/x lens-based practices through over 150 pictures made across six decades. The exhibition is on view at both RAM locations, and will remain at The Cheech through September 6, and at RAM's Julia Morgan-designed building through July 5. through It was curated by Elizabeth Ferrer. Concurrently, Fernandez's 2002 Lavanderia #2 is on view in the National Gallery of Art's permanent collection galleries. The NGA holds at least six pictures from the series. This episode was taped in 2023 on the occasion of the Hammer Museum, University of California, Los Angeles' post-renovation-and-expansion debut exhibition "Together in Time: Selections from the Hammer's Contemporary Collection," and as the Amon Carter Museum of American Art in Fort Worth was showing "Christina Fernandez: Multiple Exposures," a survey of Fernandez's career. For images, see Episode No. 602. Air date: February 12, 2026.

How can the rhythms of songs incite a crew, family or collective solidarity? Rhys Morgan is the 3rd guest of our ‘as a chorus' mini series, sharing 3 queer sea shanties from the project and choir, Seaweed in the Fruit Locker. Using Polari, a gay slang used to declare and protect gay people historically, the choir rewrites and performs historic sea shanties to describe queer lived experiences and histories. Founded in 2022, we speak about Morgan's role in the choir, how queering shanties is a return to their origins,Credits (in order of appearance);Lion's Den; Written by Rhys Morgan, performed by Seaweed in the Fruit LockerHell Cats; Written by Sef Penrose, performed by Seaweed in the Fruit LockerI've My Own Suggestions Too; Written by Ben Doney, performed by Seaweed in the Fruit LockerBio;Rhys Morgan is a queer interdisciplinary artist and curator based in Plymouth, UK. His work explores queerness as an operative in everyday experience and the expectations, possibilities, and limitations of how this is expressed. Being based in the South West of England, Morgan's work often reflects on the heritage and experience of queer people on the peninsula. In 2023 he completed the MFA Fine Art at Goldsmiths, London, being selected for Bloomberg New Contemporaries the same year. He recently worked for the National Gallery with conceptual artist Jeremy Deller, as one of four national Assistant Curators to deliver Deller's 2025 work The Triumph of Art. Artist @rhys__mHosts @influential_bro @_rebecca.edwards @niamhschmidtke Music @joemoss1 @jtre_vBroadcast through @rtm.fm

The first Art Basel Qatar art fair is now open in Qatar's capital, Doha, and The Art Newspaper's art market editor, Kabir Jhala, joins Ben Luke to discuss its impact, as well as reflecting on the wider artistic outlook in Qatar and the Middle East. The author of a new catalogue raisonné of the work of Albrecht Dürer argues that a painting of the artist's father in the National Gallery in London, long thought to be a copy after Dürer's original, is in fact an autograph work. Our special correspondent in London, Martin Bailey, tells us about the arguments for and against its authenticity. And this episode's Work of the Week is actually a pair of works. That is because there is a compelling double header opening at the Albertinum in Dresden this weekend, the exhibition Paula Modersohn-Becker and Edvard Munch: The Big Questions of Life. The exhibition's co-curator Andreas Dehmer discusses Selbstbildnis mit Hand am Kinn or Self-Portrait with Hand on Chin (1906) by Modersohn-Becker and Vampir or Vampire (1895) by Munch with our digital editor, Alexander Morrison.Art Basel Qatar continues until Saturday, 7 February.Christof Metzger, Albrecht Dürer: The Complete Paintings. Selected Drawings and Prints, Taschen, £175 (hb)Paula Modersohn-Becker and Edvard Munch: The Big Questions of Life, Albertinum, Dresden, 8 February-31 May.To buy The Art Newspaper's guidebook The Year Ahead 2026, an authoritative look at the year's unmissable art exhibitions, museum openings and significant art events, visit theartnewspapershop.com. £14.99 or the equivalent in your currency. Hosted on Acast. See acast.com/privacy for more information.

Episode 514 / Michael BrennanMichael Brennan (b. 1965, Pine Island, FL; lives Brooklyn, NY) has exhibited his paintings and works on paper nationally and internationally for the past three decades, including in the United States, Mexico, Belgium, France, Germany, Italy, China, Australia, and New Zealand.  Here at the gallery, he previously mounted four very well-received solo exhibitions – Floating Weeds (2023), Late Spring (2018), Grey Razor Paintings (2014), and Knife Paintings (2006) – and has participated in numerous group exhibitions including our major survey exhibition MINUS SPACE at MoMA PS1 in 2008-2009 and Twenty (2023).Brennan's work have been reviewed in publications including The New York Times, Art in America, ARTnews, Art New England, The Brooklyn Rail, ArtNet Magazine, NY Arts, and Philadelphia Inquirer. He is also an accomplished arts writer, and his reviews and essays have been published in The Brooklyn Rail, ArtNet Magazine, Two Coats of Paint, The Village Voice, The Architect's Newspaper, American Abstract Artists, and Archives of American Art/Smithsonian Institution, as well as in numerous exhibition catalogues.Brennan's work is included in collections such as the Baltimore Museum of Art, National Gallery of Art, San Francisco Museum of Modern Art, San Jose Museum of Art, American Express, General Dynamics, Daimler AG, and Sony Corporation. He holds an MFA in Painting and an MS in Art History from Pratt Institute and a BA in Classics from the University of Florida. He has taught at Pratt Institute since 1998 and is currently Adjunct Professor in the Fine Arts Department. He has also previously taught at the School of Visual Arts, Hunter College, and Cooper Union (all NYC).  

Folk musician Martin Carthy speaks about his long career and about his recent decision to retire from live performance following a diagnosis of late-onset Alzheimer's Disease; As a major retrospective of the work of Gwen John goes on display at National Museum Cardiff, the exhibition's curator Lucy Wood and historian of visual culture Becca Voelcker discuss this formidable and fascinating modernist. 77-year-old curator Alison Luchs of the National Gallery of Art in Washington DC has gone viral with her social media videos in which she speaks to Gen Z in their own language. She speaks to Front Row about slaying as an online phenomenon. And ENO's new Music Director Designate, German conductor André de Ridder, speaks to us about his plans for the opera company and about the forthcoming production of Rise and Fall of the City of Mahagonny by Kurt Weill and Bertold Brecht, a piece which he has described as "frighteningly relevant". Presenter: Kate Molleson Producer: Mark Crossan

Nytt poddavsnitt ute! Vi har spanat in utställningar vi drömmer om att se under 2026 – i Norden, Europa och också en i USA. Det blir allt från renässansens perfektion till performance, konst i industrimiljöer och verk som nästan aldrig lämnar sina museer.I Norden tar vi upp Basquiat – Headstrong på Louisiana i Danmark, en utställning som fokuserar på Jean-Michel Basquiats teckningar på papper från början av 1980-talet. I Oslo visas Edvard Munch & The Chocolate Factory på MUNCH, där de målningar som Munch gjorde för Freias chokladfabrik 1923 presenteras tillsammans med skisser och arkivmaterial. I Sverige finns den fasta installationen Tidens rum – Vadstena klosterkyrka 1470 på Sancta Birgitta Klostermuseum, där kyrkorummet visualiseras med hjälp av ljud, bild och digital teknik.I Europa pratar vi om Van Eyck: The Portraits på National Gallery i London, där alla Jan van Eycks bevarade porträtt visas samlade. I Florens visas Rothko in Florence på Palazzo Strozzi med två satellitutställningar, där Mark Rothkos måleri sätts i relation till den italienska konsttraditionen. På Musée d'Orsay i Paris arrangeras Mary Cassatt: The Choice of Independence, en utställning som samlar målningar, pasteller och grafik från hela hennes karriär. I Rom visas Cartier and Myths på Kapitolinska museerna, där Cartiers smycken presenteras i dialog med antikens bildvärld.I USA tar vi upp Raphael: Sublime Poetry på The Metropolitan Museum of Art i New York, den första heltäckande presentationen av Raphael som har visats i USA, med verk inlånade från samlingar i Europa och Nordamerika.Lyssna om du vill få reslust, konstlust och en lista att spara inför 2026. Finns där poddar finns eller via link i bio!Support till showen http://supporter.acast.com/konsthistoriepodden. Hosted on Acast. See acast.com/privacy for more information.

THE REGENERATION OF THE FRICK. Axel Rüger is a German art historian, curator and museum director. Director of the Van Gogh Museum in Amsterdam from 2006 to 2019, he previously worked as a curator of Dutch art at the National Gallery in London. He led the Royal Academy of Arts in London from 2019 through 2024, and in March 2025 assumed the directorship of The Frick Collection in New York City. "You get a sense of how the Fricks lived at the time, even though we do not really talk much about their daily life." "For the first time, the Frick now also has a café and a dedicated space for education activities." "The library has always been a vital part of the museum." https://www.alainelkanninterviews.com/axel-ruger/

A viral encounter with a bronze sculpture put our host, Madison Beale, in touch with the incomparable interdisciplinary artist Patricia Cronin this year. Today on the Artalogue, Beale sits down down with Cronin to discuss her career trajectory from humble beginnings to a global art world presence as multidisciplinary feminist artist behind Memorial to a Marriage and Shrine for Girls to unpack how a work of art can carry both intimacy and insurgency.Patricia traces her path from a Catholic childhood through the 1990s culture wars, with erotic Polaroids interrogating power, authorship and voyeurism. That same insistence on lived perspective inspired later works, like the three-ton neoclassical embrace installed on her own burial plot to answer legal and physical absence in public space, and three quiet altars in Venice layered with fabrics that invite viewers to better understand how the patriarchy harms us all. Beale and Cronin also face the present head-on: executive orders scaring museum programs into deplatforming artists, show cancellations rippling through the arts in the United States, and the subtler danger of self-censorship in the studio. Cronin shares a clear path for resisting authoritarianism, matching skills to message and building communities that outlast regimes. Patricia Cronin is an interdisciplinary feminist artist that examines issues of gender, sexuality, and social justice. Major bodies of work focus on the international human rights of LGBTQ+ persons, women, and girls, including “Memorial To A Marriage”, the world's first Marriage Equality monument. Cronin's work has been exhibited internationally, with solo exhibitions at institutions including the Tampa Museum of Art, The FLAG Art Foundation, the 56th Venice Biennale, the Brooklyn Museum, and the American Academy in Rome. She has also participated in significant group exhibitions around the world and received  various prestigious awards and fellowships. Cronin's works is collected by numerous museums, including Kelvingrove Art Gallery and Museum, Leslie-Lohman Museum of Gay and Lesbian Art, National Gallery of Art, Perez Art Museum Miami, Smithsonian National Portrait Gallery, Tampa Museum of Art, and Woodlawn Cemetery. She lives and works in Brooklyn, New York.If this conversation moves you, follow the show, share it with a friend who loves art and justice, and leave a review with the artwork that changed your life. Your stories help others find us and keep this community growing. Connect with the Artalogue: Madison Beale, HostBe a guest on The Artalogue Podcast

Tania Willard is an artist who wants you to think beyond the white cube — beyond the sterile white walls and polished floors of the typical art gallery space. Last year, she won the Sobey Art Award, one of Canada's most prestigious contemporary art prizes, and her work is currently on display at the National Gallery of Canada. In this conversation with guest host Talia Schlanger, the artist and curator from Neskonlith First Nation in B.C. reflects on her childhood, ancestry, and the everyday acts that shape Indigenous resurgence — from basket-making to raising her sons on the land.

In this special episode, authors and historians Leslie Primo and Miranda Kaufmann join EMPIRE LINES live, to discuss migration, national identity, and the many heritages of Britain's best-known artworks, drawing from the collections of the National Gallery and National Portrait Gallery in London.This episode was recorded live at the Supporters' House Salon at the National Gallery in London in October 2025. Find all the information in the first Instagram post: instagram.com/p/DPogN0mgvtF/The Foreign Invention of British Art: From Renaissance to Enlightenment by Leslie Primo is published by Thames & Hudson.Heiresses: Marriage, Inheritance and Caribbean Slavery by Miranda Kaufmann is published by One World Publications.Both are available in all good bookshops and online.For more about National Trust properties, hear historian Corinne Fowler 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): pod.link/1533637675/episode/9f4f72cb1624f1c5ee830c397993732eWatch the full video conversation online, via Radical Ecology: vimeo.com/995929731And find all the links in the first Instagram post: instagram.com/p/C8cyHX2I28For more about Ottobah Cugoano, hear contemporary artist Billy Gerard Frank on their film, Palimpsest: Tales Spun From Sea And Memories (2019), recorded live as part of PEACE FREQUENCIES, a 24 hour live radio broadcast to mark International Human Rights Day in December 2023, and 75 years of the Universal Declaration of Human Rights: pod.link/1533637675/episode/ODVmOTQ5NzEtNjU1YS00N2ZkLWE5YjUtZDIwNmUyZTI5MzY2For more about Barbara Walker's Vanishing Point series, hear curators Jake Subryan Richards and Vicky Avery on Black Atlantic: Power, People, Resistance (2023) at the Fitzwilliam Museum in Cambridge.Hear Ekow Eshun, curator of the touring exhibition, The Time is Always Now (2024) at the National Portrait Gallery in London and The Box in Plymouth: pod.link/1533637675/episode/df1d7edea120fdbbb20823a2acdb35cfHear artist Kimathi Donkor on John Singer Sargent's Madame X (1883-1884) and Study of Mme Gautreau (1884) at Tate Britain in London: tate.org.uk/whats-on/tate-britain/sargent-and-fashion/exhibition-guide/sargent-fashion-audioAnd hear artist Yinka Shonibare CBE RA on Decolonised Structures: Queen Victoria (2022) at the Serpentine in London: pod.link/1533637675/episode/NTE4MDVlYzItM2Q3NC00YzQ1LTgyNGItYTBlYjQ0Yjk3YmNjPRODUCER: Jelena Sofronijevic.Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcastSupport EMPIRE LINES on Patreon: patreon.com/empirelines

This year – 2026 – marks the centenary of Dr. Ian McWhinney's birth. Ian McWhinney is considered the “father of family medicine” in Canada and founded the first academic Department of Family Medicine in Canada at Western University in 1970. Join CFP Associate Editor Dr. David Ponka and Editor Dr. Nick Pimlott as they interview Dr. Tom Freeman, Professor Emeritus at Western University to discuss an article in the January edition of CFP which they co-authored with Tom entitled “Finding safe harbour: reassessing 9 principles of family medicine in difficult times” (https://www.cfp.ca/content/72/1/20). Tom, David and Nick discuss Tom's first encounter with Ian McWhinney as a medical student and their long working relationship together; the launch of a new series in CFP entitled “Foundations for Tomorrow” reinterpreting McWhinney's 9 principles for our current challenging times; and our partnership with the National Gallery of Canada to bring these principles to life on the journal's covers from the Gallery's extensive archival collection (https://www.cfp.ca/content/72/1/8). Hosted on Acast. See acast.com/privacy for more information.

Fr. Eric Nicolai preached this meditation on retreat to priests at the Manoir de Beaujeu, in Coteau du lac, near Montreal, Canada.At his most urgent hour, when the apostles are on retreat with their Lord in the garden, a place far away from the hubbub of the crowds, the Lord lets go a searing complaint to his priests:“What! Could none of you stay awake with me one hour?” (Matt 26, 40) We have to stay awake with him in this retreat. The word hour is present 7 times in John. Fulton Sheen refers to each hour in detail. The hour has come for the Son of Man to be glorified. (Jn 12, 23). The hour for us has now come to respond to his demands, to examine all the layers in which we can be his priests, and truly embrace our mission. Thumbnail: Andrea Mantegna, Christ in the Garden of Olives 1455, egg tempera, National Gallery, London.Music: Angelic, by the Vienna Philharmonic Orchestra, with license.

This week's focus in an artist who has been called ‘the British Caravaggio'. This eerie candlelit scene shows a scientific experiment in the ‘Age of Reason', capturing the drama of the event, the limits of human knowledge and the fragility of life itself. Phil talks about this and more with Christine Riding, Curator and Director of Collections and Research at the National Gallery, London. Support the show

2025 saw an incredible amount of change and pressure for the industry and its agencies – steering the ship through heavy storms has become even tougher.At Campaign's Year Ahead Breakfast Briefing in The National Gallery, editor Maisie McCabe led a discussion on leadership in a time of change, interviewing Dan Clays, CEO of Omnicom Media EMEA, Katie Mackay-Sinclair global chief brand officer at Mother, and Magnus Djaba, chief client officer and Publicis Groupe. This bonus episode of The Campaign Podcast features the entire panel which discusses the impact of AI, structural shifts within agencies and how people should care for each other during timed of change.The Year Ahead Breakfast Briefing featured adland leaders talking about the trends and strategies for 2026, across creativity, technology, leadership, brands and media.Further reading:Agencies need to be AI literate to keep up with clients, Gravity Road global ECD warnsCreativity will see a return to ‘raw human honesty' in 2026, Kyle Harman-Turner says'Isn't it boring spending in the same place?': the case for a diverse media dietGlobal sentiment towards sustainability has 'fallen off a cliff', Trainline marketer saysThe Year Ahead 2026: Ad agenciesThe Year Ahead 2026: CreativityThe Year Ahead 2026: SocialThe Year Ahead 2026: Cultural trendsThe Year Ahead 2026: Media ownersThe Year Ahead 2026: BrandsThe Year Ahead 2026: TechnologyThe Year Ahead 2026: Media agenciesComing up in the Campaign Calendar:Brand Film Awards: deadline on 29 JanuaryAudio Advertising Awards: second entry deadline on 29th January, with multi-entry discounts Hosted on Acast. See acast.com/privacy for more information.

Adland leaders announced their optimism at last week's Year Ahead Breakfast Briefing in The National Gallery, talking about the trends and strategies across creativity, technology, leadership, brands and media for 2026.Martin Beverley, co-founder and chief startegist at Ace of Hearts spoke about the importance of joy, while Netflix's head of advertising sales Ed Couchman said 2026 will be the year of fandom as consumers are wanting more from brands. Gravity Road's global executive creative director said agencies need to be AI literate to keep up with clients, while creativity will see a return to "raw human honesty" in 2026, said Kyle Harman-Turner, creative partner and executive creative director at FCB London.In this episode, Campaign's journalists who were at the event and on the panels dig into what the industry's leaders predict for 2026, and why. Tech and multimedia editor Lucy Shelley is joined by deputy editor Gemma Charles, premium content editor Nicola Merrifield and deputy creativity and culture editor Charlotte Rawlings.Further reading:'Isn't it boring spending in the same place?': the case for a diverse media dietGlobal sentiment towards sustainability has 'fallen off a cliff', Trainline marketer saysThe Year Ahead 2026: Ad agenciesThe Year Ahead 2026: CreativityThe Year Ahead 2026: SocialThe Year Ahead 2026: Cultural trendsThe Year Ahead 2026: Media ownersThe Year Ahead 2026: BrandsThe Year Ahead 2026: TechnologyThe Year Ahead 2026: Media agenciesCan we talk about the ethics of AI-fuelled advertising?Coming up in the Campaign calendar: Brand Film Awards: deadline on 29 January Hosted on Acast. See acast.com/privacy for more information.

[The images referred to in this talk can be found at https://www.stpauls.co.uk/sites/default/files/2026-01/2025%20-%207%20Dec%20St%20Pauls%20UNDERHILL%20SLIDES.pdf] Evelyn Underhill is best known as a theologian, mystic, and spiritual director – remembered by the Church each year on the 15th June. In the 1900s, long before her fame, she travelled extensively in Italy and France, painting, drawing and writing as she journeyed to glorious cathedrals, rural churches, and historic museums. Marking the 150th anniversary year of her birth, this event explores her lesser-known art and writing. The Revd Ayla Lepine will guide us on a pilgrimage with Underhill as a companion through the sacred art and architecture of Chartres, Amiens, Assisi, Siena, Venice, and beyond. The Revd Dr Ayla Lepine is Associate Rector at St James's Church, Piccadilly, before which she was Ahmanson Fellow in Art and Religion at the National Gallery. She has a PhD in art history from the Courtauld Institute of Art and her book 'Women, Art, God' will be published in 2026. She is a trustee of Art and Christianity, a Visiting Scholar at Sarum College in Spirituality and the Imagination, and a member of the St Paul's Cathedral Visual Arts Committee.

  In this article, Christine Anzieu-Premmereur explores the relationship between compulsion and the body in childhood and adolescence. Using psychoanalytic theory, she analyzes how the compulsive repetition of self-destructive behaviors can represent an attempt to process and make sense of early traumatic experiences. The article highlights the importance of early therapeutic intervention in childhood to prevent emotional and addictive problems later in life. In a world where addiction and emotional difficulties affect many people, understanding the roots of these behaviors is crucial. Through psychoanalytic theory, the author guides us in exploring the underlying mechanisms of compulsive repetition and its role in shaping subjectivity. Christine Anzieu-Premmereur proposes models of early psychic processes that influence repetition compulsion, distinguishing between two types: one that fosters creativity and openness, and another that leads to disorganization and destructiveness. She examines how early relationship disturbances can contribute to addiction and compulsive behaviors in adulthood. Early therapeutic intervention is therefore essential to foster creativity and free association in patients. Ultimately, the author argues that compulsive behaviors can reflect attempts to process and make sense of early experiences, even when this process is painful or difficult. She also highlights the importance of analytic space, transitional spaces, and creative activities as settings where emotions can be explored and understood. Christine Anzieu-Premmereur is an adult and child psychiatrist and psychoanalyst, and a member of the Société Psychanalytique de Paris and the New York Psychoanalytic Institute. She directed the Parent-Infant Psychotherapy Training at Columbia University and served as chair of the IPA Committee for Child and Adolescent Psychoanalysis. She has published extensively on motherhood, child psychoanalysis, psychosomatics, addiction, and the intersection of the body and compulsion. You can download a copy of the paper here. This podcast series is produced by the International Psychoanalytical Association as part of the activities of the IPA Outreach Subcommittee.    Chair: Gaetano Pellegrini.  Podcast Coordinator: Florencia Biotti. Editing and Post-Production: Massimiliano Guerrieri.   To stay informed about the latest podcast releases, please subscribe today.   Cover Image: Simon Vouet, Madonna and Child, 1633. Courtesy of National Gallery of Art, Washington, D.C. https://www.nga.gov/artworks/206070-madonna-and-child  

At The Windmill in Brixton, Noah and Jules are putting themselves down of course - but that's part of the charm with the dynamic but stripped-back lexicon of Radio Free Alice. They tell us how the Australian government has helped them tour overseas, the expectant but elusive debut album, and working at the National Gallery of Victoria. Their newest single 'Rule 31' is out now. Think The Cure, The Smiths and The Strokes. Get yourself some top class Shure microphone gear: https://shu.re/3YhV7p2 Set up Your Band's merch store, for free at Distrokid Direct: https://distrokid.com/direct/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Fluent Fiction - Norwegian: Finding Connection: A Journey Through Oslo's National Gallery Find the full episode transcript, vocabulary words, and more:fluentfiction.com/no/episode/2026-01-10-08-38-20-no Story Transcript:No: På den kalde vinterdagen hadde Nationalmuseet i Oslo en spesiell energi.En: On the cold winter day, the Nationalmuseet in Oslo had a special energy.No: Snøfnuggene dalte sakte ned utenfor, og dannet et mykt teppe over byens gater.En: Snowflakes fell slowly outside, forming a soft blanket over the city's streets.No: Inne var det travelt.En: Inside, it was busy.No: Elever fra forskjellige skoler gikk rundt i de store salene, hvor tidens kunstverk snakket ulike språk gjennom sine skiftende stiler og farger.En: Students from different schools walked around in the large halls, where works of art from different times spoke various languages through their shifting styles and colors.No: Sigrid gikk stille bak gruppen sin.En: Sigrid walked quietly behind her group.No: Hun var i sitt rette element her, omgitt av kunstverk som rørte ved hjertet hennes.En: She was in her element here, surrounded by artworks that touched her heart.No: Selv om hun elsket å være blant maleriene, følte hun ofte at hun var for seg selv, selv i mengden.En: Even though she loved being among the paintings, she often felt alone, even in a crowd.No: Ved siden av henne gikk Eirik.En: Next to her walked Eirik.No: Han var åpen og pratsom, og han kjente nok de fleste i klassen.En: He was open and talkative, and he probably knew most of the class.No: Eirik snakket om dette og hint, men Sigrid lyttet ikke.En: Eirik talked about this and that, but Sigrid wasn't listening.No: Hun drømte seg bort i et landskap av farger og penselstrøk.En: She was dreaming herself away in a landscape of colors and brushstrokes.No: Da de kom til en stor sal, stoppet Sigrid.En: When they reached a large hall, Sigrid stopped.No: Foran henne hang et maleri som fanget hennes oppmerksomhet.En: In front of her hung a painting that captured her attention.No: Det var et uttrykk for kaos og følelsesladet intensitet.En: It was an expression of chaos and emotional intensity.No: Det var som om maleriet snakket til hennes innerste tanker.En: It was as if the painting spoke to her innermost thoughts.No: Det var et snev av Melankoli av Edvard Munch, og hun følte at det speilet hennes egen verden.En: There was a hint of Melankoli by Edvard Munch, and she felt that it mirrored her own world.No: Eirik la merke til at Sigrid hadde stoppet opp.En: Eirik noticed that Sigrid had stopped.No: "Hva ser du på?" spurte han nysgjerrig.En: "What are you looking at?" he asked curiously.No: Sigrid nølte.En: Sigrid hesitated.No: Hun kjempet med seg selv.En: She was struggling with herself.No: Ønsket hun å dele det hun følte?En: Did she want to share what she felt?No: Hva ville Eirik si?En: What would Eirik say?No: Ville han forstå?En: Would he understand?No: Hun tok et dypt pust.En: She took a deep breath.No: "Dette maleriet," begynte hun, "det minner meg om... om hvordan jeg noen ganger føler meg isolert, selv når jeg er rundt andre."En: "This painting," she began, "it reminds me of... of how I sometimes feel isolated, even when I'm around others."No: Ordene kom forsiktig, nesten som en hvisken.En: The words came cautiously, almost like a whisper.No: "Det er som om Munch forstår det."En: "It's as if Munch understands that."No: Eirik så på maleriet, så tilbake på Sigrid og nikket sakte.En: Eirik looked at the painting, then back at Sigrid and nodded slowly.No: "Det er interessant," sa han, "jeg tror jeg skjønner hva du mener.En: "That's interesting," he said, "I think I understand what you mean.No: Det får meg til å tenke på hvordan ting kan være overveldende, men samtidig vakre."En: It makes me think about how things can be overwhelming, yet beautiful at the same time."No: Sigrid smilte forsiktig.En: Sigrid smiled gently.No: Det var første gang hun hadde delt noe så personlig med en klassekamerat, og det hadde ikke vært så skummelt som hun hadde trodd.En: It was the first time she had shared something so personal with a classmate, and it hadn't been as scary as she had thought.No: Eirik lyttet virkelig, og det var som å åpne en dør hun ikke visste fantes.En: Eirik really listened, and it was like opening a door she didn't know existed.No: De gikk videre gjennom museet, side om side, og delte små betraktninger om kunstverkene de så.En: They continued through the museum, side by side, sharing small observations about the artworks they saw.No: Sigrid oppdaget at det å dele sine tanker gjorde alt mye rikere.En: Sigrid discovered that sharing her thoughts made everything much richer.No: Hun innså at hun, ved å åpne seg opp, kunne skape bånd og finne fellesskap hun aldri før hadde opplevd.En: She realized that by opening up, she could create bonds and find a sense of community she had never experienced before.No: Utenfor dalte snøen fortsatt, men inne var Sigrid fylt med en ny følelse av tilknytning.En: Outside, the snow still fell, but inside Sigrid was filled with a new sense of connection.No: Hennes indre verden var ikke lenger en ensom plass; den var et sted for dialog og oppdagelse, og i dag hadde det kunnet begynne med et enkelt maleri.En: Her inner world was no longer a lonely place; it was a space for dialogue and discovery, and today it had been able to begin with a single painting. Vocabulary Words:snowflakes: snøfnuggeneblanket: teppehalls: saleneartworks: kunstverkshifting: skiftendetalkative: pratsomlandscape: landskapbrushstrokes: penselstrøkchaos: kaosemotional: følelsesladetintensity: intensitethint: snevmirrored: speiletcuriously: nysgjerrighesitated: nøltewhisper: hviskenoverwhelming: overveldendegently: forsiktigscary: skummeltdoor: dørobservations: betraktningercommunity: fellesskapconnection: tilknytningspace: plassdialogue: dialogdiscovery: oppdagelseshare: deleattention: oppmerksomhetinnermost: innerstecautiously: forsiktig

Fluent Fiction - Hindi: Art & Awakening: Finding Winter Magic Beyond the Canvas Find the full episode transcript, vocabulary words, and more:fluentfiction.com/hi/episode/2026-01-10-23-34-02-hi Story Transcript:Hi: दिल्ली की सर्दियों में हवा कुछ ज्यादा ही सर्द थी।En: The air in Delhi during winter was particularly cold.Hi: पूरे शहर में मकर संक्रांति की रौनक छाई हुई थी।En: The entire city was abuzz with the excitement of Makar Sankranti.Hi: इसी रौनक में, नेशनल गैलरी ऑफ़ मॉडर्न आर्ट में कला के दीवाने उमड़े हुए थे।En: In this festive atmosphere, art enthusiasts flocked to the National Gallery of Modern Art.Hi: गैलरी के भीतर, जगह-जगह भारतीय समकालीन कलाकारों की कला प्रदर्शन कर रही थी।En: Inside the gallery, various corners were showcasing the work of contemporary Indian artists.Hi: अर्जुन भी वहीं था।En: Arjun was also there.Hi: उसे अपने आर्ट प्रोजेक्ट के लिए प्रेरणा की तलाश थी।En: He was in search of inspiration for his art project.Hi: लेकिन आज, उसे कोई भी चित्र उसे उत्साहित नहीं कर पा रहे थे।En: But today, none of the paintings were exciting him.Hi: उसने अपनी कला का जादू खो दिया है, ऐसा उसे लगने लगा था।En: He felt like he had lost the magic of his art.Hi: उसकी आंखें चित्रों में कोई नई बात तलाशतीं, मगर उसका मन कहीं और ही था।En: His eyes searched the paintings for something new, but his mind was elsewhere.Hi: अर्जुन ने यह सोचकर अन्य लोगों को देखने का निर्णय लिया ताकि कुछ नया अनुभव प्राप्त कर सके।En: Arjun decided to observe other people in the hope of gaining a new experience.Hi: लोग चारों ओर हैरान होकर चित्रों को देख रहे थे।En: People were gazing at the paintings in awe everywhere.Hi: इसी बीच उसकी निगाहें प्रिया और मीरा पर पड़ीं।En: Amidst this, his eyes fell on Priya and Meera.Hi: दोनों बहनें बड़े ध्यान से एक चित्र को देख रही थीं।En: Both sisters were attentively looking at a painting.Hi: फिर अचानक कुछ ऐसा हुआ जिसकी किसी को उम्मीद नहीं थी।En: Then suddenly, something unexpected happened.Hi: प्रिया अचानक बेहोश होकर गिर पड़ी।En: Priya suddenly fainted and fell.Hi: अर्जुन का दिल धड़कने लगा।En: Arjun's heart began to race.Hi: लोग इधर-उधर हटने लगे।En: People started moving aside.Hi: अर्जुन के अंदर कुछ जागा।En: Something awakened inside Arjun.Hi: उसने बिना सोचे-समझे, तुरंत प्रिया की ओर दौड़ लगाई।En: Without thinking, he immediately ran towards Priya.Hi: वहां पहुंचकर अर्जुन ने देखा कि प्रिया की सांस कुछ सही नहीं थी।En: Reaching there, Arjun saw that Priya's breathing was not quite right.Hi: अर्जुन ने अपने अवलोकन कौशल का इस्तेमाल किया।En: Arjun used his powers of observation.Hi: उसने प्रिया का सिर नर्म तकिये के समान अपने हाथों से सहारा दिया और मीरा से पानी देने को कहा।En: He gently cradled Priya's head with his hands, like a soft pillow, and asked Meera to bring water.Hi: कुछ ही देर में, प्रिया की आँखें खुल गईं।En: In just a short while, Priya's eyes opened.Hi: मीरा ने उसे गहरी सांस लेने के लिए कहा।En: Meera told her to take a deep breath.Hi: इस आपात स्थिति में अर्जुन की संवेदनशीलता और सूझबूझ काम आई।En: In this emergency, Arjun's sensitivity and presence of mind proved valuable.Hi: प्रिया ने धीरे से मुस्कुराते हुए अर्जुन को देखा और धन्यवाद कहा।En: Priya looked at Arjun with a soft smile and said thank you.Hi: अर्जुन को महसूस हुआ कि उसने वाकई एक महत्वपूर्ण भूमिका निभाई थी।En: Arjun realized he had indeed played an important role.Hi: प्रिया और मीरा के साथ समय बिताते हुए, अर्जुन ने जाना कि जीवन एक कला है जिसे न केवल चित्रों में, बल्कि संबंधों में भी ढूंढा जा सकता है।En: While spending time with Priya and Meera, Arjun learned that life is an art that can be found not only in paintings but in relationships as well.Hi: अर्जुन का आत्मविश्वास लौट आया था।En: Arjun's confidence had returned.Hi: कला की प्रेरणा उसे न केवल चित्रों से, बल्कि लोगों और उनकी कहानियों से भी मिल सकती है।En: Inspiration for art could come not only from paintings but also from people and their stories.Hi: इस अनुभव ने अर्जुन को कला के प्रति उसकी भूली हुई प्यार को फिर से जगा दिया।En: This experience rekindled Arjun's forgotten love for art.Hi: अब वह कला को एक नई नजर से देख सकता था।En: Now, he could see art from a new perspective.Hi: गैलरी से बाहर जाते हुए, ठंडी हवा भी अब उसे उतनी ठंडी नहीं लग रही थी।En: As he left the gallery, the cold wind no longer felt as cold to him.Hi: मकर संक्रांति का उत्सव उसके मन और आत्मा में भी शुरू हो गया था।En: The celebration of Makar Sankranti had begun in his mind and soul as well. Vocabulary Words:particularly: कुछ ज्यादा हीenthusiasts: दीवानेshowcasing: प्रदर्शनcontemporary: समकालीनinspiration: प्रेरणाexciting: उत्साहितobserve: देखनेfainted: बेहोशcradled: सहाराsensitivity: संवेदनशीलताperspective: नजरrekindled: फिर से जगाflutter: धड़कनेextraordinary: अप्रत्याशितimmediately: तुरंतepisode: घटनाmagnitude: महत्वपूर्णsoul: आत्माbreeze: हवाartistry: कलाimmersed: डूबाrevelation: खुलासाunexpected: अचानकemergency: आपात स्थितिvaluable: कीमतीgalleries: गैलरीrole: भूमिकाstorytelling: कहानियोंexperience: अनुभवwind: हवा

It is the first episode of 2026. So we look ahead at the next 12 months with a guide to big museum openings, biennials and exhibitions. Ben Luke is joined by Jane Morris, editor-at-large at The Art Newspaper and Cultureshock, and Gareth Harris, chief contributing editor at The Art Newspaper, to discuss the key art fairs, major museum building projects and the top biennials of the year, and we pick our exhibition highlights.All of the events discussed and many more are featured in The Art Newspaper's guidebook The Year Ahead 2026, an authoritative look at the year's unmissable art exhibitions, museum openings and significant art events. Visit theartnewspapershop.com. £14.99 or the equivalent in your currency.Events discussed:ART FAIRS: Art Basel Qatar, Doha, Qatar, 5-7 Feb; Frieze Abu Dhabi, 17-22 Nov; MUSEUM OPENINGS: Guggenheim Abu Dhabi, date tbc; V&A East, opens 18 Apr; Los Angeles County Museum of Art (Lacma), opens Apr; Lucas Museum of Narrative Art, opens 22 Sep; Dataland, Los Angeles, opens spring; New Museum, New York, date tbc. BIENNIALS: Venice Biennale, In Minor Keys, 9 May-22 Nov; Arthur Jafa and Richard Prince: Helter Skelter, Fondazione Prada, Venice, 9 May-22 Nov; Marina Abramović: Transforming Energy, Gallerie dell'Accademia, Venice, 6 May-19 Oct; Whitney Biennial, opens 8 Mar; Greater New York 2026, MoMA PS1, 16 Apr-17 Aug; EXHIBITIONS: Gainsborough: The Fashion of Portraiture, Frick Collection, 12 Feb-11 May; Raphael: Sublime Poetry, Metropolitan Museum of Art, New York, 29 Mar-28 Jun; Zurbarán, National Gallery, London, 2 May-23 Aug; Michaelina Wautier, Royal Academy of Arts, 27 Mar-21 Jun; James McNeill Whistler, Tate Britain, 21 May-27 Sep, Van Gogh Museum, Amsterdam, 16 Oct-10 Jan 2027; Seurat and the Sea, Courtauld Gallery, ​​13 Feb-17 May; Peggy Guggenheim in London: The Making of a Collector, Peggy Guggenheim Collection, Venice, 25 Apr-19 Oct; Royal Academy, London, 21 Nov-14 Mar 2027, Cezanne, Fondation Beyeler, Basel, 25 Jan-25 May; Leonor Fini, Schirn Kunsthalle, Frankfurt, 22 Oct-28 Feb 2027; Hilma af Klint, Grand Palais, 6 May-30 Aug, Matisse 1941-1954, Grand Palais, Paris, 24 Mar-26 Jul; Chez Matisse: The Legacy of a New Painting, Caixa Forum, Barcelona, 27 Mar-16 Aug; Fratino and Matisse: To See This Light Again, Baltimore Museum of Art, 11 Mar-6 Sep; Matisse's Femme au Chapeau: A Modern Scandal, SFMOMA, San Francisco, 16 May-7 Sep; Marcel Duchamp, MoMA, New York, 12 Apr-22 Aug; Mary Cassatt: An American in Paris, National Gallery of Art, Washington, DC, 14 Feb-30 Aug; Mary Cassatt: After Impressionism, Art Institute of Chicago, 6 Sep-3 Jan 2027; Modern Iran and the Avant-Gardes, 1948-78, Vancouver Art Gallery, 11 Dec-2 May 2027; Spectrosynthesis Seoul, Art Sonje Center, Seoul, 20 Mar-28 Jun; Carol Bove, Solomon R. Guggenheim Museum, New York, 5 Mar-2 Aug; New Humans: Memories of the Future, New Museum, New York, opens early 2026; Hurvin Anderson, Tate Britain, 26 Mar-23 Aug; Tracey Emin: A Second Life, 26 Feb-31 Aug; Ana Mendieta, Tate Modern, London, 9 Jul-10 Jan 2027. Hosted on Acast. See acast.com/privacy for more information.

One of the legacies of the Holy roman empire is that Germany does not have just one place where everything happens, where politicians, entrepreneurs, bankers, artists, and actors travel on the same underground trains and eat at the same restaurants. Berlin is the capital with its political class of members of the Bundestag, journalists and lobbyist and at the same time a major gathering place for artists, musicians and thespians of all stripes and home to many tech startups. But the bankers are in Frankfurt, the headquarters of the major companies are in Stuttgart, Munich, Düsseldorf and spread around everywhere. Several of the major publishing houses are in Hamburg, the private TV stations in Munich, but none of these places have a monopoly on any of these activities. There are banks headquartered in Munich and major corporates in Frankfurt, there is great theater in Düsseldorf, Dresden and Schwerin, there are world leading companies headquartered in tiny towns like Künzelsau.And that cuts through to the major cultural sites. Though the quip that there were 365 states in the Holy Roman empire is vastly exaggerated, there were once a hundred capital cities, from splendid Dresden to tiny Hohenzollern-Hechingen, each with its princely residence, cathedral, grand monastery and theater. The great artists either travelled from court to court, leaving behind their works here or there, or stayed in one of the free imperial cities, operating large workshops.Therefore what you cannot do in Germany is to go to one city and see all the major treasures the country has “collected” over the centuries, as you can do in the Louvre or the British Museum and the National Gallery. In Germany you have to move around, see one thing at the time, always in the knowledge that its significant counterpart is a few hundred miles north, south, east or west of you. This is one of the legacies of the medieval empire that Germany has in common with Italy.And hence we are going through each of the Bundesländer trying to pick out one absolute must-see and one place where you are likely to encounter fewer people. And as we have covered 9 Bundesländer up to Mecklenburg-Vorpommern already, the next location we will have to get to is Nordrhein-Westfalen, Germany's most populous state.

Elijah Gowin uses photography to speak about ritual, landscape and memory.  He was born in Dayton, Ohio in 1967 and received his BA in Art History from Davidson College in 1990 and MFA in Photography from the University of New Mexico in 1997. His photographs are in the collection of the National Gallery of Art, Houston Museum of Fine Art, and the Virginia Museum of Fine Art, among others.   His awards include the John S. Guggenheim Fellowship in 2008 as well as grants from the Charlotte Street Foundation and the Puffin Foundation.  He founded Tin Roof Press to publish his books on art and photography including “The Last Firefly” in 2024 and “Of Falling and Floating” in 2011.  Presently, he is a Professor in the Department of Media, Art and Design at the University of Missouri-Kansas City where he directs photographic studies.  Gowin is represented by the Robert Mann Gallery, New York, Photo Gallery International, Tokyo and Bond Millen Gallery, Richmond, Virginia. Elijah Gowin, Tree 1. Date: 2012 Size: 15.33x 23, Pigment inkjet print Elijah Gowin, fireflies in trees, selangor river, malaysia, 2017 Size: 22”x30.75” Elijah Gowin, House 1 Date: 2014. Size: 15.33”x 23” Pigment inkjet print

Abby Bysshe believes the most powerful museum experiences start with fun and lead to curiosity. From hands-on exhibits to full-body interactive moments, her work centers on creating spaces where visitors of all ages can explore science, ask questions, and leave inspired to learn more long after they walk out the door.Abby is the Chief Experience and Strategy Officer at the Franklin Institute in Philadelphia, one of the nation's oldest and most visited science museums. She has spent nearly a decade at the Institute overseeing exhibitions, live science programming, and the overall visitor experience. Prior to that, she worked at the National Geographic Society and the National Gallery of Art, building a career at the intersection of design, storytelling, and cultural institutions.Abby joined the podcast to discuss designing engaging museum experiences, sparking curiosity through play, and her career path through the museum world, along with insights on lifelong learning, creative leadership, and staying open to unexpected opportunities.

This episode we are thrilled to be joined by the artist Martine Gutierrez. Martine is a transdisciplinary artist whose work uses photography, video, and performance to examine how identity is constructed and portrayed. Her projects range from billboards and music videos to her celebrated magazine Indigenous Woman, where she takes on every role — artist, subject, and producer — to challenge pop-culture tropes around gender, beauty, and representation.Her work has been shown internationally, including at the 58th Venice Biennale and in exhibitions at the Museum of Modern Art, the Whitney Museum of American Art, LACMA, Crystal Bridges, the Pérez Art Museum, and the Smithsonian American Art Museum. Her work is also held in major collections including MoMA, the Whitney, the Guggenheim, SFMOMA, LACMA, Crystal Bridges, the National Gallery of Art, and the Smithsonian American Art Museum. Martine will be in the 2026 Whitney Biennial.Martine received her BFA from the Rhode Island School of Design and lives and works in New York.Martine is represented by Fraenkel Gallery and Ryan Lee Galleryhttps://fraenkelgallery.com/artists/martine-gutierrez https://ryanleegallery.com/artists/martine-gutierrez/Some artists discussed in this episode:Yoko OnoMarina AbramovićFollow along on Instagram at @artfromtheoutsidepodcasthttps://www.instagram.com/artfromtheoutsidepodcast

What if Trafalgar Square didn't have Nelson's Column at all, but a full-scale Great Pyramid instead? Not a model. Not a metaphor. Six million tonnes of ancient Egyptian stone plonked right where the fountains are. This piece takes one of the most jaw-dropping, gloriously bonkers proposals in London history and lets it rip, measuring the pyramid against the National Gallery and St Martin-in-the-Fields, marvelling at its insane size and weight, and imagining Londoners calmly going about their business in the shadow of a monument built for eternity. Big, bold, cheeky and very London.

This is an episode of The Specialist, your weekly dose of wonder. In The Specialist, explore the significance and journey of an extraordinary work through the eyes of those that know it best. On today's episode, what happens when a work of art is so enigmatic that you think about it for 60 years? Alex Bell, Chairman Emeritus of Sotheby's UK and Old Masters Worldwide, tells the story of how a mysterious Renaissance altarpiece entered the collection of the National Gallery in London as the museum celebrated its bi-centenary. Further details about the episode subject. Learn more about your ad choices. Visit podcastchoices.com/adchoices

As always, the final episode of The Week in Art of the year is a review of the past 12 months. To look at the top stories, the big issues and the best art in 2025, host Ben Luke is joined by The Art Newspaper's contemporary art correspondent, Louisa Buck, our art market editor, Kabir Jhala, and Ben Sutton, our editor-in-chief, Americas. We reflect on subjects from the Los Angeles wildfires in January, via President Trump's raft of policies in relation to culture and heritage, to the crisis at the Louvre, the National Gallery in London's expansion plans and their potential effect on the gallery's relationship with Tate, and the fortunes of the art market, including the flight to the Middle East for art fairs and auction houses. Plus, the guests select their exhibitions and works of the year, including those by Kerry James Marshall, Helen Chadwick, Coco Fusco, Jack Whitten, Henri Matisse and Hamad Butt. Hosted on Acast. See acast.com/privacy for more information.

Located in the beautiful Baroque Barberini Palace, the National Gallery of Ancient Art contains works of art produced before the year 1800. It includes masterpieces by Andrea del Sarto, Bronzino, Canaletto, Titian, and Tintoretto. But the collection's most important works are Caravaggio's "Judith and Holofernes," Bernini's "Bust of Pope Urban VIII," and Pietro da Cortona's spectacular ceiling fresco "The Allegory of Divine Providence and Barberini Power." 

Three visions of darkness as the days draw in. Adam Rutherford's guests for Radio 4's Monday discussion programme are a poet, a photographer of night-time and a National Gallery curator. Night Vision is the latest book from the award-winning poet and writer Jean Sprackland exploring our complex relationship with the dark: what we fear and what we wish to banish. In the dark she finds a place of possibility and she asks what might we discover in the dark if we free our imagination. The photographer Jasper Goodall has been taking photographs in the dark for many years, mainly in forests and woodlands. In 2025 in exhibitions on show at Nottingham, Brighton, Cornwall and the Royal Academy Summer Exhibition he has displayed works which draw on classical myth, European folklore and animistic belief systems. Christine Riding, Director of Collections and Research, talks about the images of scientific experiment and industrialisation in England on show in the National Gallery's exhibition showcasing the candlelight paintings of Wright of Derby (1734-1797). Wright of Derby: From the Shadows in the Sunley Room at the National Gallery runs until 10 May 2026 and there is an entrance fee. Producer: Ruth Watts

We are delighted to announce the first ever Irish episode of Russell Tovey and Robert Diament's acclaimed Talk Art podcast, recorded live at the National Gallery of Ireland Lecture Theatre on Saturday November 8th for Dublin Gallery Weekend 2025.Isabel Nolan, Ireland's representative at the 2026 Venice Biennale, has an expansive practice that incorporates sculptures, paintings, textile works, photographs, writing and works on paper. Her subject matter is similarly comprehensive, taking in cosmological phenomena, religious reliquaries, Greco-Roman sculptures and literary/historical figures, examining the behaviour of humans and animals alike.These diverse artistic investigations are driven by intensive research, but the end result is always deeply personal and subjective. Exploring the “intimacy of materiality”, Nolan's work ranges from the architectural – steel sculptures that frame or obstruct our path – to small handmade objects in clay, hand-tufted wool rugs illuminated with striking cosmic imagery, to drawings and paintings using humble gouache or colouring pencils. In concert, they feel equally enchanted by and afraid of the world around us, expressing humanity's fear of mortality and deep need for connection as well as its startling achievements in art and thought.Driven by “the calamity, the weirdness, horror, brevity and wonder of existing alongside billions of other preoccupied humans”, her works give generous form to fundamental questions about the ways the chaos of the world is made beautiful or given meaning through human activity.In 2026, Nolan will represent Ireland at the 61st Venice Biennale, with Georgina Jackson and The Douglas Hyde Gallery of Contemporary Art as the curator and Cian O'Brien as producer. In 2025, Nolan participated in the 13th Liverpool Biennial, Bedrock, curated by Marie-Anne McQuay. Isabel Nolan lives and works in Dublin.Follow @NolanIsabel and @KerlinGallery.Thank you @DublinGalleryWeekend, we loved visiting! We can't wait to return to beautiful Ireland. Hosted on Acast. See acast.com/privacy for more information.

Send us a textIn this episode of Artwank, we visit Bundanon to discuss the current exhibition, 'The Hidden Line The Art of the Boyd Women', with curator Sophie O'Brien. The exhibition brings attention to the women of the Boyd family (Arthur Boyd was a celebrated Australian artist, leaving his home, the Bundanon estate, to support the arts) and their role in Australian art and cultural life. While the Boyd name is often associated with male artists, this show focuses on the work, lives and influence of the women who shaped the legacy in ways that have often been overlooked.Sophie O'Brien joins us to talk through the curatorial process behind the exhibition. She reflects on how the project developed, how works and archival materials were selected, and the challenges of representing multiple generations of women across different creative practices. The conversation explores what it means to reframe established art histories and how institutions like Bundanon can open space for stories that have not always been centred.Sophie O'Brien is a curator at Bundanon where she works across exhibitions, collections and research. She has held roles at major public institutions and has worked on a wide range of projects spanning historical and contemporary art. Her practice is grounded in close engagement with artists, archives and place, with a focus on bringing new perspectives to existing collections.This episode looks at the labour of curating, the gaps that still exist in art history and how exhibitions like The Boyd Women can shift public understanding of legacy, authorship and recognition. It is a conversation about process, responsibility and the ongoing work of making space for women within cultural narratives.Thanks for chatting to us SophieRecorded November 2025Exhibition on until 15th February 2026'The Hidden Line: Art of the Boyd Women repositions the creative practices of five generations of women from one of Australia's most prominent artistic dynasties. Showcasing more than 300 powerful and diverse works, this timely exhibition brings into focus the women of the Boyd family – artists, designers, writers, and creative collaborators – whose contributions have long been influential yet overshadowed by their celebrated male counterparts.Revealing a remarkable matrilineal line of artistic practices, the exhibition will present works by Emma Minnie a'Beckett Boyd, Lady Mary Nolan, Yvonne Boyd, Lucy Boyd Beck, Hermia Boyd and their descendents still practicing today including Lucy Boyd, Polly Boyd, Florence Boyd Williams and Ellen Boyd Green. Drawn largely from the Bundanon Collection, with key loans from the National Gallery of Australia, the National Gallery of Victoria, the National Library, and Heide Museum of Modern Art, the exhibi

Pulitzer Prize-winning photojournalist Lynsey Addario on the personal toll of conflict. Plus: Kate Hawley, costume designer of the much-celebrated film Frankenstein, discusses her first Fashion Award.See omnystudio.com/listener for privacy information.

I am so excited to bring you this conversation with the extraordinary Es Devlin, who joined me at Liberty last week to celebrate the release of How to Live an Artful Life. Es Devlin is an artist and stage designer renowned all over the world for her large-scale performative sculptures and environments – from theatre and opera design for the National Gallery and Royal Opera House, to kinetic stage sculptures for musicians like Beyoncé, U2 and Lady Gaga. She has also created luminous installations at the V&A, Serpentine Galleries, Somerset House, and more. Whether designing for Beyoncé, the opera, or creating public artworks, Es Devlin's works dissolve the boundaries between art, architecture and performance, and encourage us to rethink our position in the world. Expertly led by the wonderful Hannah Macinnes, we touched on all things to do with living an artful life – Es's morning routine; how we can get better at focusing our attention on one thing; artmaking as an expression of love; the artist hustle – and so much more. I can't wait for you to hear it. Pick up your copy of How to Live an Artful Life: https://www.waterstones.com/book/how-to-live-an-artful-life/katy-hessel/9781529155204 An Atlas of Es Devlin https://www.waterstones.com/book/an-atlas-of-es-devlin/es-devlin/andrea-lipps/9780500023181

After a delayed application process and an aborted initial commission, the US has at last appointed its artist for next year's Venice Biennale: the Utah-born, Mexico-based artist Alma Allen. The Art Newspaper's editor-in-chief in the Americas, Ben Sutton, talks Ben Luke through this confusing saga. At the National Museum of Norway in Oslo a new exhibition, Deviant Ornaments, focuses on the expression and representation of queerness in Islamic art over more than a millennium. Ben talks to the curator of the exhibition Noor Bhangu. And this episode's Work of the Week is the Cree artist Duane Linklater's wintercount_215_kisepîsim (2022), a piece using recycled canvas from teepees, and referencing the deaths of First Nations children after they were separated from their families in the Residential School system in Canada. It's part of an exhibition called Winter Count: Embracing the Cold, at the National Gallery of Canada in Ottawa, and we talk to two of the four curators of that show, Wahsontiio Cross and Jocelyn Piirainen, about the work.Deviant Ornaments, The National Museum of Art, Architecture and Design, Oslo, until 15 March 2026.Winter Count: Embracing the Cold, National Gallery of Canada, Ottawa, until 22 March 2026Black Friday subscription offer: enjoy up to 70% off across subscription packages to The Art Newspaper this Black Friday, with a year's digital subscription just £21, reduced from £70 (or the equivalent in your currency) and a print and digital subscription just £40, reduced from £99. https://www.theartnewspaper.com/subscriptions-BF25?promocode=BF25&utm_source=display+ads&utm_campaign=blackfriday25 Hosted on Acast. See acast.com/privacy for more information.

We speak with Italian chef Giorgio Locatelli about his new restaurant Locatelli at London's National Gallery. See omnystudio.com/listener for privacy information.

The House passed a bill to release the Jeffery Epstein Bill to release all the files from the case. Dog Lovers in PG county can now own Pitbull's as the ban was lifted yesterday. National Gallery of art created an ice rink starting Monday. Make sure to also keep up to date with ALL our podcasts we do below that have new episodes every week: The Thought Shower Let's Get Weird Crisis on Infinite Podcasts See omnystudio.com/listener for privacy information.

In this episode of PhotoWork with Sasha Wolf, April Watson, Senior Curator of Photography at The Nelson-Atkins Museum of Art in Kansas City, Missouri, joins Sasha to discuss her upcoming exhibition, American Prospects and Landscape Photography, 1839 to Today. The two dive into an insider's conversation about how acquisitions—whether through donations or direct purchases—shape curatorial decisions. April speaks about the importance of honoring donor gifts through thoughtful exhibitions, and about working closely with museum education staff to shape exhibition language to engage audiences who may not have an art-historical background. She then turns the tables, inviting Sasha to share her perspective on the current state of the photographic art market and how it has evolved or devolved over time. https://nelson-atkins.org/art/exhibitions/american-prospects-and-landscape-photography-1839-to-today/ https://www.instagram.com/nama_photographs/ April M. Watson is Senior Curator of Photography at The Nelson-Atkins Museum of Art in Kansas City, Missouri. During her eighteen-year tenure at the museum, Watson has curated over 20 exhibitions that span the history of photography. These include: American Prospects and Landscape Photography, 1839 to the Present (forthcoming 2026); Strange and Familiar Places (2025); Evelyn Hofer: Eyes on the City (2023, with the High Museum of Art); Jim Dow: Signs (2022); Gordon Parks X Muhammad Ali: The Image of a Champion, 1966/1970 (2020, with the Gordon Parks Foundation); Eugene Richards: The Run-On of Time (2018, with the George Eastman Museum); Impressionist France: Visions of Nation from Le Gray to Monet (2013); and Heartland: The Photographs of Terry Evans (2012). Prior to the Nelson-Atkins, Watson held curatorial research positions at the National Gallery of Art, Washington D.C., and the Center for Creative Photography, Tucson. She holds an MA in Art History from the University of New Mexico and a Ph.D. in Art History from the University of Kansas. She is currently at work on a major exhibition for 2027 that explores the relationship between early photography the antislavery movement. The exhibition will also feature major contemporary works inspired by this history.

I am so excited to say that my guest on the GWA Podcast is the esteemed curator, author, and expert in photography, Madga Keany. Currently the Head Curator of International Art at the National Gallery of Art, Canberra, Magda was most recently Curator at the National Portrait Gallery, Canberra, and before that, Senior Curator, Photographs at the National Portrait Gallery London, where she lead the realisation of a major re-presentation of the Photographs Collection as part of the museum's rehaul. Keany has curated shows and published texts on Australian art, design and social history, photography that ranges from the Victorian period to fashion, conflict and portraiture, solo presentations of portraits by Irving Penn, among many others. She has written for the groundbreaking Know My Name project, that put women artists in Australia on a global stage as well as for Cindy Sherman, A World History of Women Photographers, and more. …but it was her exhibition last year that really grabbed my attention: Francesca Woodman and Julia Margaret Cameron: Portraits to Dream in', that brought together the two photographers working 100 years apart, from very different worlds, circumstances and contexts, but which showed how these pioneering women shaped the medium, with their dreamlike pictures imbued with beauty, symbolism, classicism, transformation and more… So today, I couldn't be more excited to delve into the life of the 19th century photographer, Julia Margaret Cameron, who, aged 49 in 1863, picked up a camera and, largely self-taught, crafted her distinct bohemian style pictures with that hazy sepia glow, that proved to not only be influential in Victorian Britain, but have a huge impact on photography at large. As Cameron once said: “My aspirations are to ennoble Photography and to secure for it the character and uses of High Art by combining the real & Ideal & sacrificing nothing of Truth by all possible devotion to poetry and beauty.” And I can't wait to find out more. People mentioned: Julia Margaret Cameron (1815–1879) Francesca Woodman (1958–1981) John Herschel (1792–1871) Artworks: Julia Margaret Cameron, Annie, 1864; https://collections.vam.ac.uk/item/O81145/annie-photograph-cameron-julia-margaret/ Julia Margaret Cameron, Pomona, 1872; https://collections.vam.ac.uk/item/O1433678/pomona-photograph-cameron-julia-margaret/ Julia Margaret Cameron, Thomas Carlyle, 1867; https://www.metmuseum.org/art/collection/search/269434 Julia Margaret Cameron, The Astronomer, 1867; https://collections.vam.ac.uk/item/O1433637/the-astronomer-photograph-cameron-julia-margaret/ Julia Margaret Cameron, Ellen Terry, at the age of sixteen, 1864 https://www.metmuseum.org/art/collection/search/269433 -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

A new documentary shines light on the early years of the hugely successful Canadian wildlife painter Robert Bateman. “The Art of Adventure” peels back the layers of how the artist fell deeply in love with the natural world and launched a lifelong fight to protect it. Yet, critics often dismiss Robert's art. He has received the Order of Canada, but has never been invited to show at the National Gallery of Canada. At 95, Robert looks back with Tom Power on an unusually artistic career which has been both celebrated and misunderstood by his home country.

Waldy speaks to Katy Hessel about her new book, and ponders with Bendy on how art can be good for you. Also in a rare treat, Waldy and Bendy gets to meet in person to visit the Joseph Wright of Derby show at The National Gallery. See the show notes here: https://zczfilms.com/podcasts/waldy-bendy/season-5-episode-8/  Watch it on YouTube here: https://youtu.be/urbWO9jvEYk 

Happy 80th birthday to Maggi Hambling, our guest this week! We meet Maggi in her studio to discuss her 6 decades of making painting and sculpture.Maggi Hambling CBE was born in Suffolk in 1945. She studied at the East Anglian School of Painting and Drawing from 1960 under Cedric Morris and Lett Haines, then at Ipswich School of Art, Camberwell, and finally the Slade School of Art, graduating in 1969.In 1980 she was the First Artist in Residence at the National Gallery, London, and in 1995 she won the Jerwood Painting Prize (with Patrick Caulfield). Public sculpture includes A conversation with Oscar Wilde (1998) at Adelaide Street, London, facing Charing Cross Station and Scallop (2003), a sculpture to celebrate Benjamin Britten, at Aldeburgh beach, Suffolk and for which the artist was awarded the Marsh Award for Excellence in Public Sculpture. A Sculpture for Mary Wollstonecraft was unveiled in Newington Green, London in 2020.Hambling's work is held in public collections including at Tate, British Museum, CAFA, Beijing and the Metropolitan Museum of Art, New York.Visit: http://maggihambling.com/ Hosted on Acast. See acast.com/privacy for more information.