Podcast appearances and mentions of phillip king

Phillip King has $30 million worth of reasons he's the Sutherland Shire's king of commercial real estate. Aftera 30+ year career at IBM Australia, where he was one of the first mobile phone owners and worked with computers as big as living rooms, he thought it was time for retirement. He was wrong.Harnessing three decades of commercial investment thanks to his childhood chats with his Uncle Joe, King realised his calling and jumped at the chance. Now with 53 commercial properties of his own and a database of 350 clients, he's living the career of his dreams.In this episode King delves into what it was like to grow up in God's country, where his childhood revolved around sport and definitely not around writing books! The author of Engines of Wealth: Commercial Retail Shops describes how and why he got involved in commercial property investing, and why residential property just wasn't the fit for him. Plus, millennials rejoice: we hear how you can have your avocado Hosted on Acast. See acast.com/privacy for more information.

Phillip King has $30 million worth of reasons he's the Sutherland Shire's king of commercial real estate. Aftera 30+ year career at IBM Australia, where he was one of the first mobile phone owners and worked with computers as big as living rooms, he thought it was time for retirement. He was wrong.Harnessing three decades of commercial investment thanks to his childhood chats with his Uncle Joe, King realised his calling and jumped at the chance. Now with 53 commercial properties of his own and a database of 350 clients, he's living the career of his dreams.In this episode King delves into what it was like to grow up in God's country, where his childhood revolved around sport and definitely not around writing books! The author of Engines of Wealth: Commercial Retail Shops describes how and why he got involved in commercial property investing, and why residential property just wasn't the fit for him. Plus, millennials rejoice: we hear how you can have your avocado Hosted on Acast. See acast.com/privacy for more information.

A new MP3 sermon from Covington and Sugar Grove New Conference is now available on SermonAudio with the following details: Title: "Come Unto Me" Speaker: Phillip King Broadcaster: Covington and Sugar Grove New Conference Event: Sunday Service Date: 7/14/2024 Bible: Matthew 11:28-30; Psalm 37 Length: 122 min.

What you'll learn in this episode: Why artist jewelry is more than just miniature versions of larger work The history of artist jewelry, and how Esther is helping its story continue How Esther helps artists with their first forays into jewelry, and why making jewelry can be a fruitful challenge for fine artists Why an artist's first idea for a piece of jewelry is often not their best Why artist jewelry collectors must be brave About Esther de Beaucé Esther de Beaucé is the founder and owner of Galerie MiniMasterpiece in Paris, France. MiniMasterpiece is a gallery entirely dedicated to contemporary artists, designers and architects' jewelry. The gallery is an invitation given to those who usually never design jewelry because their work evolves on a more monumental scale (i.e. sculptures). Esther's passion is to convince those artists to change the scale of their work and accompany them in that new field of wearable art. She has collaborated with acclaimed contemporary artists such as Phillip King, Bernar Venet, Andres Serrano, Lee Ufan, Jean-Luc Moulène, and Pablo Reinoso. A graduate of Brown University, Esther previously co-owned the gallery Schirman & de Beaucé in Paris, dedicated to young artists of contemporary art. Photos available on TheJewelryJourney.com Additional Resources: Website Instagram Transcript: For gallerist Esther de Beaucé, artist jewelry isn't completely art or completely contemporary jewelry. It's in a niche all its own—and that's what makes it fascinating. As founder and owner of Galerie MiniMasterpiece in Paris, she helps fine artists translate their art into jewelry, creating something entirely new rather than a smaller version of their typical work. She joined the Jewelry Journey Podcast to talk about how she challenges artists to think about their work differently; how interest in artist jewelry has evolved over the years; and why artist jewelry collectors are so open minded. Read the episode transcript here. Sharon: Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception. Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. I don't remember how I found out about Esther de Beaucé's gallery in Paris. It is tucked back in the corner with other galleries. Welcome back. Do you have collectors, people who like a certain artist or piece they've found in your gallery, and then they come back and look for others, or you send them a postcard telling them, “We're having a show of that artist,” or something like that? Esther: Yes. I have shows at the gallery as well, maybe for a year. Most of the time they are solo shows. I like solo shows a lot because it's like for art, when when you have a solo show, you're surrounded by several pieces of work. You are emerging into their body of work. It's more interesting to me than having one piece by that artist and another piece by another artist. I like solo shows a lot, but solo shows are not easy to make because it means that obviously the artist had several ideas. It takes a lot of time to organize a solo show, but I try to make solo shows most of the time. I invite all my collectors to these shows. It's always difficult to know what's going to happen between a collector and a piece of jewelry, what connection is going to operate at that time. Sometimes collectors choose or fall for an object, and they don't know the artist who's behind it, but they really fall for an object. I really like that idea. Sometimes collectors are very close to an artist, and they have several pieces of that artist in their homes. When they realize that artist has also made a piece of jewelry, then of course they're going to be interested in it. Most of the jewels I have at the gallery, I hope they speak for themselves. You were asking me about collectors and jewelry. Sharon: You answered the question. But do have people who only collect, let's say, Pablo Picasso's jewelry or something that? Esther: Yeah, of course. Some women only wear silver or only wear gold or only wear rings or never wear any brooches. I try to remember all that so I can show them what they like. But I also enjoy presenting them with other things, too, because it's always interesting to make discoveries. And the collectors of artist jewelry are very open-minded people. It takes a lot of, I wouldn't say courage, but it takes a lot of personality to wear something that is different from common jewelry. You have to be strong because you're going to attract looks, and sometimes you have to speak about what you're wearing and answer people's reactions. Sometimes other people can be very narrow-minded, and you have to assume what you chose and what you wear on your body. So, this type of collector, they're very interesting to welcome. What I mean is that even though they have their taste, they are easy to counsel as well because they have that curiosity. They want to learn, and they want to see so much. So, they are very interesting people. Sharon: Do they go on to start liking the artist's other things, their paintings or drawings, after they started with the jewelry? Esther: Yes, of course. I have a lot of jewels at the gallery, but I also have a lot of books, and those books help me explain the artist's work at large. Often, when I can, I try to offer a book to accompany the jewel to give them more background on the artist. Yeah, definitely. Sharon: Do you make jewelry yourself? Did you ever make jewelry yourself? Esther: No. Never. Maybe as a kid playing with leaves and flowers, but that's it. Or pasta. Sharon: What did you study? When you were in the States, did you think about opening a gallery in France? Esther: No, I studied anthropology. I really wanted to work as an anthropologist, but it didn't happen. After that first art experience that ended in 2012, I wanted a new project working with artists. I had seen the year before, in 2011, a great artist jewelry show at the MAD in New York. That was actually my mother's collection of artist jewelry. I went to New York for her opening, and it was the first time that I saw her collection in the museum environment, and I was so impressed. I started thinking of a new project for myself, and this show in New York was really—how would you say— Sharon: Eye opening. Esther: That's it. Eye opening and a decision-making moment. And as I came back to Paris, I started really talking about it and organizing my professional life to make it possible. Sharon: That's interesting. When you said your mother was a collector, I thought, “Well, she must have started early, before anybody was wearing it or knew about it.” Today, more and more people know about it, but then she probably didn't have a lot of friends who were collecting the same thing. Esther: Yeah, for sure. That show was 12 years ago, but she started collecting artist jewelry 40 years ago. There are few women in the world who have done the same thing. There are few. It's a large and important collection. She focused on that in a professional way. Sharon: When you said that you thought it was a more active field in the 60s and 70s and then it sort of died down, why do you think that was? Esther: It's a matter of different elements. I think it was in 1969, there was a great show at the MOMA in New York on artist jewelry that's never happened since. You also had great artists, jewelry editors at that time in Italy. You had GianCarlo Montebello, who was a goldsmith and an editor, and he worked with fantastic artists like Fontana and the Pomodoro brothers. Montebello made fantastic pieces. In the south of France, you had François Hugo, who was a very important goldsmith as well. He's the one who made all the jewelry by Max Ernst and Man Ray and Picasso and Dorothea Tanning. Sometimes it's just a matter of a few people. They really made the artist jewelry world very active at the time, but then they stopped and did something else, so it went quiet again. Hopefully, it's getting more intense now, but you need people behind it. Once these people do something else, then it dies a little bit. And then you have a new generation of editors and it starts again. Sharon: By editor you also mean curator, right? It's a curator. Esther: Also, yeah. By editor I mean what I do personally, but what also has been done by Luisa Guinness or Elisabetta Cipriani or Marina Filippini, those active editors, meaning you invite artists to make jewelry pieces. This is what I called editor. This is what I do. Sharon: Do you only wear art jewelry that you have in your gallery or that an artist has made, or do you wear “normal” jewelry? Esther: It might sound weird to you, but I'm a low-key person. I'm a discreet person. When I'm at the gallery every day, I choose a piece of work and I wear it all day in the gallery with an immense pleasure. But when I go out, when I go to a dinner party or visit a show, I don't wear jewelry. It might sound funny, but I wouldn't want people to think I am always promoting what I do and my work. Imagine a regular art dealer. He wouldn't go to an art fair or to a to a dinner party carrying with him a painting or a sculpture. When I go out wearing a jewel from the gallery, I feel like I'm still working, and I don't like that idea. I don't want people to imagine that I'm always trying to sell jewelry. So, in dinner parties, I'm very often the only woman not wearing any piece of jewelry, which is very stupid. But yeah, this is me. Sharon: That's interesting. Has anybody ever stopped you on the street and said, “That's a really interesting necklace you have on”? Esther: Yeah, but not very often because when you see me on the street, I don't have it on me. Of course, on special occasions I do, but I mostly wear artist jewelry in the gallery, and it's a great pleasure to do so. I change every day and wear several of them because it's very important for people to see those jewels on the body. A piece of jewelry on the body is very different from a photo of a jewel. You really need to see how it goes on the neck or on the finger. It really makes it alive. So, to see me with artist jewelry, you have to come to the gallery. If you see me on the street, you would not really see any artist jewelry on me. I was telling you about collectors and how they are strong-minded, and I'm probably more shy. Sharon: Well, based on the collection in your gallery, I wouldn't call you shy. I'm curious, when you get dressed in the morning, do you walk to the gallery without anything on and then you put something on when you come to the gallery? Esther: Well, I have my clothes on, obviously, but I choose clothing that will fit the best with jewelry. I have funny pants and funny shoes, but I always have black or white tops. When you have too much information on a sweater or shirt, sometimes it draws away the attention from the jewel. So, this is something I pay attention to in the morning. This is why I have funny shoes but not funny outfits too much. Sharon: How do you describe what you do if somebody says, “Well, what do you do?” when you're at a party? Esther: I have a neighbor who's a great contemporary art gallerist, and he was introducing me to a friend of his a few days ago at an art fair. He said, “This is Esther, and she's doing the most rare job in the art world.” And I was like, “This is an interesting way of putting what I'm doing.” It's true that I am part of the art scene, yet it's such a tiny niche. This is how he saw and how he described my job. But I would say that what I do is invite those who never make jewelry because they are sculptors, and I ask these people, who are not jewelry specialists, to make a jewelry piece for the gallery. This is how I like to speak of my job. Otherwise, I say that I'm an artist jewelry editor, but then sometimes you have to give more explanations than just those three words. It doesn't explain well enough. So, to make it more clear, I usually say that I invite those who never make jewelry. Sharon: Do you consider yourself part of the art scene or jewelry? Are you part of the art world or the jewelry world? Esther: It's a tricky question. I'm part of the two, but the artists I work with are not part of the jewelry world. Obviously, they are a part of the art world, and through our collaboration, I bring them to the jewelry world. But I would say I'm maybe 80% from the art world and 20% from the jewelry world. I think artist jewelry is very interesting because it offers a new perspective on jewelry and contemporary jewelry. Because the artists I work with have nothing to do with jewelry, most of the time they're going to bring something new to the jewelry world, new ideas, new possibility. This is what makes it very interesting for the jewelry world. At the same time, I think the invitation I make to those artists is also both a challenge and recreation time. It has to be fun and it has to be, for them, a means to work with new material like silver and gold. It's a new experience for them. The invitation also has to feed them, in the way that it has to bring them something new and challenging. Otherwise, it's not interesting for them. I really try to value that new experience for them. Sharon: That's interesting what you're saying. Do you have to say some of that? Do you have to convince some of the artists that it will be interesting for them? Esther: When I invite them, I say all those things. I don't even wait for them to need me to convince them. I say it all at once, that my invitation is full of all these aspects. Of course, it's going to be difficult for them to find a good idea, yet I'm here to accompany them, and the goldsmiths that I chose and that I work with are extraordinary people. It's a great gift that I give to artists, to be able to work with these people, because they are fantastic goldsmiths and very interesting people to work with. Sharon: Do any of the artists ever call you and say, “Esther, I just don't have an idea. I don't know what to do. I've drawn 14 things, and I just don't like them.” What do you do then? Esther: Yeah, of course. It happens. Sometimes they need a little more time. I don't put any pressure on them. When they're ready, they're ready. Sometimes when they are very focused on an idea that I don't believe too much in, I make a prototype just so that I can show them the prototype and explain to them why I don't think it's strong enough. Sometimes they have to see it for real. This is sometimes something that I do. Okay, you really want to make this? I am going to show you what it looks like, and then we can continue our conversation. Sharon: Did you ever consider, before you started this or when you were thinking about what to do after the other gallery, did you think about selling a different kind of jewelry? Esther: No, I'm very busy with the jewels already. There are many contemporary jewelers that come to me, and sometimes I really fall for their work because there are many great contemporary jewelers. But I try to restrain myself. Sometimes I buy a piece for my own pleasure. But the gallery's story is something different, and I try to remain on that path because there is still a lot to do on it. I want to focus on that story for now. Sharon: So, you're saying if somebody comes in and shows you something that you don't think is on the path, let's say, you might buy it for yourself. You might like it. Esther: Of course, it has happened. Yeah, it has happened. But I have to tell you that I spend all my money on producing the artist jewels, because I produce myself. I pay the goldsmith who's going to work with the artist, so this is taking a lot of the gallery's budget. I don't have that much money left for buying other kinds of jewelry. But it has happened that I do. Sharon: Does the artist sign the piece? Do you both sign it, or do you sign it? Esther: No, no, no, I never sign. It's the artist's signature on it, of course. On certificates, I just add that it has been edited by Galerie MiniMasterpiece. Sharon: How did you come up with the name of the gallery, MiniMasterpiece? Esther: It was a conversation with my mother and my stepfather. We were looking for a name, and we wanted it to be linked to the art world more than the jewelry world. MiniMasterpiece is not a bad name. It is a reference to masterpieces, so to art. It has the mini, obviously, so it's a small work of art. But who knows? Maybe in the future I will find another name. But for now, it's this one. Sharon: It's a great name. I was just wondering how you came up with it. Mini seems very American, or very English and not very French. That's all. That's why I'm asking. Esther: Actually, masterpiece is obviously an English name, because we would say in French chef-d'œuvre. But mini is something that is used in French also. Sharon: Okay. So, the contemporary jewelry. I might do really interesting contemporary jewelry. I don't, but let's say I do, but I don't do pictures and drawings. Esther: Well, then you're not really what I'm interested in, because I like the idea that there is a movement from another body of work, and a movement from that body of work to jewelry. I like working with non-specialists. I think it makes projects very interesting. To me, this is the story I want to tell, those rare moments when a piece of jewelry is going to be possible for those artists. It's not their specialty. They're not doing this all the time. It remains rare. It's just from time to time. I like that idea. Sharon: Have they come to you and said, “I want to put gems in this piece,” or has an artist who's making the jewelry said, “I want to put gems”? Esther: No, very, very rarely because to them, gems are very linked to classic jewelry, to contemporary jewelry, and they don't want to use the same vocabulary. They are more into material and shapes and volumes than in gems. Sharon: Have you ever had the artists come in and describe their work? Do the artists come to the solo shows that you have and describe the work they do? Esther: Yeah, during the opening, of course all artists are present. Or if we make a special appointments, of course. Sharon: So, the artist says, “Yes, I want to make the jewelry for you.” What's the next step? Esther: The next step is them finding the good idea. Once they have ideas, we start the conversation and we discuss what's feasible, what's not feasible. We keep a few ideas, and then we go to the goldsmith and we discuss with them what's possible. Slowly it builds up. The first thing is the idea. Sharon: You come to the goldsmith or silversmith to say, “The artist is thinking about doing a loop. Can you do that?” Esther: No, we go to the goldsmith with a prototype or a maquette. The piece is there already. It's not in silver, it's not in gold, but it exists. Sharon: Do they ever look at you in surprise, the goldsmith? Esther: Yes, obviously, but after 12 years, less and less. They're like, “It's going to be very difficult, but it's going to work out.” They are less and less surprised. They know me now, and they know the artist. Sharon: A few last stray questions. Did you open in the courtyard where you are? Did you open the gallery where you are? Have you moved locations? Esther: No, I have been here the whole time. Sharon: And what would you say keeps your attention about jewelry, or artist jewelry, after doing it for so long? Esther: I think my motivation and my love is still very strong, and maybe stronger and stronger because the artists themselves have new ideas very often. So, the story continues, and I also invite new artists. I have all these parallel collaborations, so it's very enriching for me. Also, the relationship I have with collectors is very nice and very interesting because I am also building with them their collection. We're all growing up together, and this is what makes it very special. And maybe after 12 years, I'm also doing my job in a better way, with a better understanding of the project and a better understanding of what collectors are expecting. It's still a challenge and it's still a risky business, but I wouldn't do anything else. I wouldn't know what to do. I'm my own boss. I do what I want. I have to carry it all, but it's a great job. I'm very happy with what I do, and being surrounded by all these great artists is fabulous. Also getting that story more well-known and broadening the public for artist jewelry is a fantastic challenge. I love challenges. Sharon: If you love challenges, you picked a good field for a challenge. Esther, thank you so much for being with us today. Esther: You for inviting me, Sharon. Thank you very much. I enjoyed very much talking to you. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

What you'll learn in this episode: Why artist jewelry is more than just miniature versions of larger work The history of artist jewelry, and how Esther is helping its story continue How Esther helps artists with their first forays into jewelry, and why making jewelry can be a fruitful challenge for fine artists Why an artist's first idea for a piece of jewelry is often not their best Why artist jewelry collectors must be brave About Esther de Beaucé Esther de Beaucé is the founder and owner of Galerie MiniMasterpiece in Paris, France. MiniMasterpiece is a gallery entirely dedicated to contemporary artists, designers and architects' jewelry. The gallery is an invitation given to those who usually never design jewelry because their work evolves on a more monumental scale (i.e. sculptures). Esther's passion is to convince those artists to change the scale of their work and accompany them in that new field of wearable art. She has collaborated with acclaimed contemporary artists such as Phillip King, Bernar Venet, Andres Serrano, Lee Ufan, Jean-Luc Moulène, and Pablo Reinoso. A graduate of Brown University, Esther previously co-owned the gallery Schirman & de Beaucé in Paris, dedicated to young artists of contemporary art. Photos available on TheJewelryJourney.com Additional Resources: Website Instagram Transcript: For gallerist Esther de Beaucé, artist jewelry isn't completely art or completely contemporary jewelry. It's in a niche all its own—and that's what makes it fascinating. As founder and owner of Galerie MiniMasterpiece in Paris, she helps fine artists translate their art into jewelry, creating something entirely new rather than a smaller version of their typical work. She joined the Jewelry Journey Podcast to talk about how she challenges artists to think about their work differently; how interest in artist jewelry has evolved over the years; and why artist jewelry collectors are so open minded. Read the episode transcript here. Sharon: Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception. Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. I don't remember how I found out about Esther de Beaucé's gallery in Paris. It is tucked back in the corner with other galleries. I don't know, unless you are looking for it, if you would find it easily. It was an intentional destination for me both times I've been there. It is very hard to find. I was determined that I was going to find it, and after a little bit of time I did find it. It is a very cozy and comfortable gallery, and Esther herself is easy to talk to. The gallery specializes in jewelry designed by artists. Some are French, some are Italian, and I'm sure there are others. The prices are very reasonable compared with other shops with jewelry by artists where you find a pretentious atmosphere. Esther speaks English flawlessly, having attended Brown College, and she has been on the podcast before, many moons ago. I'll let her tell you the rest of the story. Esther, welcome to the program. Esther: Hello, Sharon. Thank you for having me today. Sharon: I'm so glad to have you. So, why did you choose to sell jewelry by artists? Esther: I wanted to work with artists, contemporary artists, because before MiniMasterpiece, I had a first gallery also in Paris, working with young artists on paintings and sculptures and drawings. That gallery had to end, and my obsession was continuing working with artists because I really enjoyed that, that work, but I had to find another way. There are many art galleries in Paris, and I wanted to find a more special way to work with them. I knew of artist jewelry, and there aren't many places in the world and in Paris, either, for artist jewelry. So, this is how I started. Sorry, I think I said enough. Sharon: No, please, go ahead. Esther: So, at first, it was more for the pleasure of working with artists than that of making jewelry. After 12 years, I became very fond of jewelry, of course. I wouldn't say exactly the same thing, but back in time, 12 years ago, it was really my love for artists. Sharon: It was your love for artists. How was it changing from the drawings and the paintings and all of that to jewelry? Was it natural? Was it different? Esther: Yeah, it's a challenge for them, of course, when I invite them to think of their work at a different scale. They have to think of the body, which most of the time they never do because when you make a sculpture or a painting or a photograph, obviously it's not to be worn. But this time it was a big challenge for them and also for me, because 12 years ago I knew little about jewelry making itself. We both had to learn. It was a challenge for them, and it was also a challenge for me. But I knew that it was possible because it's a story that goes back in time for about a century now, with Picasso and Calder and Giacometti, all those great visual artists who made a few wearable art pieces on the side of their main activity. Sharon: Was it scary for you to start asking artists if they would do their jewelry, if they would make jewelry? Esther: I started asking those artists I knew personally because they were family friends, or I had worked with them in the past with that former gallery I had. So, I didn't take many risks the first year. Then I got more brave and I started to ask other artists. I only ask those artists where I like the work. I am a big fan of their monumental work. They are mostly sculptors. It's because I like their sculpture, but I think of inviting them to make a sculpture to wear. Sharon: Do they look at you funny, like, “What are you talking about?” Or, “I don't understand what you mean”? Esther: Most of them understand the idea. I've had several artists say no, but not that many. Sometimes they even thought about making a jewelry piece but never had the occasion to do so because they need to be surrounded by the good people. Very often they need to be accompanied by a goldsmith because they haven't mastered the work of gold or silver, so they need help on that matter. But once you invite them and tell them about that great story and how many artists have worked on that subject in the past, and that you can take them to the right goldsmiths that can help them understand their project, then it's much easier for them to accept. Sharon: And have they ever rejected you and just said, “Forget it. That's weird”? Esther: Yeah, of course they have. Sometimes it's because they don't get a good idea. Finding the right idea is not that easy. Sometimes they don't have time. Sometimes it's not a good time for them to spend some energy on that project. And of course, I understand that perfectly. In very, very, very few cases, sometimes they don't take jewelry very seriously. They have that image of jewelry being something not serious. But there are many artists I can invite, and those who don't want to play with me, it's no big deal. Sharon: Do you leave it to them to decide if it's a bracelet or a ring or a necklace or what they're going to make? Esther: Yes, of course. I open possibilities for them as wide as they want at the beginning. Then once they have ideas, we talk. Once it gets more precise, if they are going to make only one piece of jewelry, sometimes I advise them to think of a ring or a necklace because they are the most iconic type of jewels. If they have several ideas, then why not add a bracelet or earrings? But if they have to make only one, I usually recommend them to make a necklace. Also, because a necklace leaves more volume and space for them to express themselves. Sometimes it's very difficult for them to condense their work into a very tiny piece. A necklace is bigger. Sharon: What do you say to them if they say, “Esther, I'm a sculptor. I don't know how to make this small”? What do you say? Esther: I say that what I'm interested in is the DNA of their work. An idea has no size. Basically, it would be the same as making a very large sculpture. But when they are invited by a museum or a gallery, they are given a space to make. Sometimes they make a sculpture especially for that space, a museum or a gallery. I just tell them, “Well, this time you have to make a piece of a sculpture for the body.” It is just another way of thinking, and artists like to be challenged. It's a very big challenge for them, but they are very often excited by that challenge. Sharon: Are they doing other things? Are they making the jewelry for your gallery, and they're working on a sculpture or painting at the same time? It might be a different subject, but I'm wondering. Esther: Yes. I think they're on different topics at the same time. Also, when they have to think of making a wearable sculpture, sometimes it helps them to think of a new idea for a monumental work. This is something they have said to me on various occasions, that going from big to small and then back to big is also interesting for them. Sometimes it has an impact on how they think big afterwards. Sharon: You're located in the antique district in Paris, right? Esther: Yes. Not only antiques. It's called the Carré Rive Gauche. It's a very special geography because it's like a square with about six streets. It's very unique in the world because in that square you have about 120 galleries and antique shops of different specialties. You have contemporary art, you have antiques, you have Chinese art, African art, glass works, silver works. It's very unique to have such a strong—how would you say that—density of art shops. It's not like—you know the Marais? The Marais is another district that is very focused on contemporary design and contemporary art. Carré Rive Gauche and Saint-Germain-des-Prés reunites a wider range of art galleries, and I really like that mix. I feel very comfortable in that. It's a very enriching environment. Sharon: From the beginning did you know that was where you wanted to be? Esther: Yes, because it's the neighborhood where I grew up, and I'd never had a professional project in that area. And it's a lovely neighborhood. I love it. A lot of tourists as well still go to Saint-Germain-des-Prés. There aren't many places for rent, and sometimes they are very expensive. This is also why I'm in a courtyard, where you have to find your way through. But once you've been here for the first time, then it's easy to come back. There are many courtyards like this in Paris, and it's also the Parisian charm of finding the remote places. I like that idea. Sharon: It is very charming, and the Parisian charm is both in your gallery and the courtyard around it. Do you get people stumbling in? Tourists or French people who are just wandering around who find the gallery? Esther: Yes, of course. I have a sign on the street also. There are actually three different galleries in the courtyard, so we have a sign on the street with the name of the galleries. The large doors are open all day long, and there are many plants. I have random people coming very often, for sure. Sharon: When did you become attracted to jewelry? Esther: As a kid, because my mother is a great collector of artist jewelry, and I learned a lot from her. Since I was a kid, I've seen her wearing those weird pieces of jewelry that were artist jewelry only, no stones, no diamonds, only artist jewelry. That was very different from my friends' mothers, obviously. So, it was very natural to me, but I never imagined myself being a professional in that area because it was hers. But I found a way of making it mine because she's a collector and I'm an editor. I make new projects. Sometimes when she likes them, she gets them for her collection, but not always. So, I found a way of having my own role in artist jewelry different from hers. But I was really fed by her passion as a kid. Sharon: Did you think you were going to draw or paint professionally? What did you imagine yourself doing? Esther: No, I have no artistic talent myself. I really love working with artists and I'm the person next to them, but I have no desire to create myself. Even after 12 years of MiniMasterpiece, I have no desire to make jewelry myself. Artists come up with such great ideas all the time that I really don't have to think about this myself. But they need me for other things, so I'm happy to take care of all the rest. Sharon: When you say they need you for other things, I was thinking you are creative. You couldn't guide them, right? Esther: Yes, but I don't have the idea. I know how to make their ideas grow and make it possible, but it's really their work. The starting point is their work and their idea. I make it possible after that. Sharon: Who decides if it is going to be a limited edition and there are only a few? Who decides how many there are going to be? Esther: It's a tricky question. I discuss it with the artist, and we take into consideration the costs of their making, obviously. Sometimes it's a series of unique pieces. I've done that on several occasions. So, it's not really an edition; it's a series of 10 unique pieces, for example. Most of the time we make 10 or 12 different numbers of the same piece to stick to what is commonly made in sculptures. So, most of the jewels from the gallery run in an edition of 10 or 12 pieces. Sharon: You started to say that 30, though, is the limit to call it a limited edition, right? Esther: Yes, 30 is the maximum for us to call it an original piece of work. Most of the time after 30, it's not an original piece of work. I don't know how you would call it, but it would be just a regular edition. It's very rare that I go above 30. It has happened in the past, because sometimes museum shops call me for a special edition if they have a show of that artist running and they want to have a piece of jewelry in their shops. This is a very special project for me, and in that case, we make a larger edition. But this is very site specific. Sharon: How do you find the artists? Do you go to parties to look for them? Do you go to galleries? How do you find them? Esther: I go to art shows and exhibitions for the most time. When I find an artist whose work I like very much, then I try to find a way to contact him or her. But the first thing for me is to grasp and understand and like their work. After that, I try to find a possible way to get in contact with them. Sharon: Do they ever approach you first? Esther: Yes, it has happened, of course. There's a great Chinese sculptor in France called Wang Keping, with whom I've had the chance to work for the past four years. I met him at an art fair, and it was a great encounter because he's a fabulous man and a fantastic artist. It was a great, almost random encounter. Sharon: But he came to you. You looked at his work and liked his work, and he came to you? Esther: Yes. I was about to go to him, and then we met and he also wanted to discuss with me. So it was a random encounter, and it ended very well. Sharon: What is the overall state of artist jewelry—well, there are two questions—and art jewelry in France? Esther: What's the difference for you between artist jewelry and art jewelry? Sharon: That's an interesting question. I guess artist jewelry is by somebody who, it isn't their primary medium. They do painting and sculpture, and once in a while they do a pin or a ring or whatever. And the other is jewelers who do different jewelry. Esther: Yeah. It's their specialty. Making jewelry is their specialty. Sharon: Yes. Esther: So, you would call that art jewelry? Sharon: Yes. Esther: Okay. Sharon: I would call both art jewelry. But the artist jewelry— Esther: Yes. Well, I know of art jewelry, but not as well as artist jewelry, obviously, because only artist jewelry is my specialty. So, I wouldn't be able to speak of art jewelry as well. For artist jewelry, I think it's getting better because there are more editors working on the subject and inviting new artists, so it's more dynamic. It seems that in the 60s and in the 70s, the market for artist jewelry in France and in the world was more dynamic than in the 80s, in the 90s, in the early 2000s. For the past 15 years, maybe, it's getting more dynamic because new editors have started working on the subject. Museum shows have also taken place thanks to great collectors that are organizing shows on their collections. Books also have come out. So, slowly, I think it's getting more dynamic. But still, it's a story that needs to be explained more, and a lot of people don't know about it yet. So, it's also our mission to explain that story and to tell and to show. I think it's also the case for art jewelry. There aren't that many galleries and places in Paris that sell art jewels. I'm looking forward to the years to come because I believe it's going to get more and more dynamic. Sharon: Are the people who come, who assemble on your gallery, are they coming because they think, “Oh, it's jewelry. I want to look at diamonds and pearls,” and you have to explain what it is? Esther: Yes, all the time. All the time. Sometimes I talk for five, 10 minutes explaining the concept of the gallery, and they look at me and say, “Oh, so you are making the jewelry.” And I'm like, no, no, no, no, no, no. I'm not making the jewelry. I invite those who never make jewelry, and I ask them for a special project for the gallery. So, it takes a lot of energy explaining. Of course, some people know of that story, so it makes it easier for me. But I also like the challenge of getting that story more well-known and convincing women and men that this is also part of the jewelry world. It's not because the piece of jewelry doesn't have stones or diamonds that it's not worth it. Then we talk about value and what makes a jewel precious or not precious. So, it leads to interesting conversation. But it takes a lot of my time explaining that. Sharon: You said something I have to think about because I'm not sure I've thought about it, and that is that artist jewelry is part of the jewelry world. Esther: Of course. Sharon: Yeah. If you had asked me 10 minutes ago, I would have said yes, but I really would have had to think about it. Esther: It's contemporary jewelry, and contemporary jewelry has different compartments. I don't know how you would say that, but a small part of contemporary jewelry is that of artist jewelry, because it's being made today. So, for me, it's definitely part of it. Sharon: Do you ever have shows, meaning you take your gallery, the artist jewelry, and you cart it somewhere and show it?  Do you put it out for people to look at? Esther: You mean outside the gallery? Sharon: Yeah. Esther: Yes. Several times a year I try to be in fairs. I've never shown in a jewelry fair because I've always want to place the jewelry in a design or contemporary art background. So, I always try to show in design or art fairs, which is not always easy because there aren't that many art fairs, for example, that leave space for art jewelry. So, it's a tricky thing for me, to find a good place outside of the gallery to show that kind of jewelry. Although artist jewelry is part of art jewelry and contemporary jewelry at large, it's a bit different. I'm trying to connect it. I want the connection with the art and design world to be very strong, more than that of jewelry at large. I want to place it into an art environment as much as possible, so also for fairs. Sharon: What if you don't like the first drawing or the first couple of drawings of something that an artist shows you for a ring, let's say, or a bracelet? What do you do? Esther: If I don't like it, it's very often because it doesn't look like them. It's not connected well enough to their work, to what they are. Sometimes the first idea they have is an idea of a jewel, but it's more than just making a jewel. It's making their work into a jewel, you know? So, sometimes the first idea is not the right one, but it's not because it wouldn't make a nice jewel. It would. But you wouldn't recognize their work in that small piece. And it's very important for me that the link is very strong. But for me, a good artist jewel is not a reduction of a bigger project. This is not very interesting, to make very small exactly what you make in large. It has to be a new project, yet you have to recognize the artist's work. This is the biggest challenge in the making of an artist jewel. Sharon: I'm thinking, and I can't remember his name, that the Spanish sculptor who makes puzzles. He makes them large and he makes small, little pendants and things like that. He's Spanish. Esther: Maybe he's Franco-Argentinian, Pablo Reinoso? Sharon: No, that's not his name. But has Reinoso been part of your sculptures, your gallery? Esther: Yes, among many other ones. But, you know, I walked the path of artist jewelry for 12 years, and I've also evolved on that path. What I think today might be different than what I thought in the past, and it's the same for artists. I know their first idea is going to be nice, but maybe it's not going to be as interesting as the second idea or as the third idea. But I also have to respect their rhythm, that it's going to take a bit of time and that they have to grasp the idea of jewelry. Because this is so new to them, you also have to be patient. Sharon: Do you make the first or second drawing they have, even if you don't like it, and then you wait for them? Esther: No, I ask them to work hard for the first project as well, but I notice sometimes that the first project is very nice and interesting, yet the second one or the third one or the fourth one is even more interesting because it—how would I say that—it is more demanding. It is maybe less commercial. I have the feeling that the artist and myself have walked that path a bit more as it gets more interesting. It's also more demanding for the collector. It's really from the artist to the collector. I'm sure you're not the same collector today as you were 30 years ago. And maybe what you choose to wear today or what you assume to wear today is different from many moons ago. I think we all go through that path, and it's very interesting. It doesn't mean that what you make at first is not interesting, but you have to go through all these steps. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Musician and presenter Phillip King pays tribute to the unique talent of Shane McGowan.

On today's episode, Alan sits down and has a great conversation with Phillip King. Phillip currently serves as the Vice President of the United English Breeders and Fanciers Association. Phillip is no stranger to the winner's circle either, as he's been in 3 world hunt final casts and a pile of top 20 finishes. He's been successful in the Purina races , too. He's finished with a second and a fifth place along with winning the Purina Outstanding Coonhound of the year award in 2005. He's won countless casts but what he's most proud of is his family. His 8 year old daughter won the World Youth All Around Coonhound Championship this year. Phillip is a Coonhunter's coonhunter and he tells it like it is and he does it with a servant's heart. This is one of the good ones and we were blessed to get him on to tell his story.... so far! He's not done! Y'all sit back and enjoy! CLASS IS IN SESSION!!!   For all your hound hunting and outdoor needs, visit conkeysoutdoors.com Per order Razor Hunting Gear now: Razor Hunting Gear – Conkey's Outdoors (conkeysoutdoors.com) G&C Cedar Dog Boxes G&R Cedar Dogboxes | Facebook Find us on Facebook and Instagram @coonhuntingU. Receive a 5% discount on Superior Hunting Light  @ Nitehunters.com    Use Discount Code - CHUPODCAST at check out Check out all Coon hunting university merch @ AudioHound Productions (audiohound-productions.myshopify.com) Check out FEED IT FOR LIFE - (extremedogfuel.com) and find a retailer near you today.    Receive a 10% discount on Bayou Legacy Game Calls @ Bayou Legacy Game Calls Use Discount Code - COONHUNTINGU10 at check out

Philip King of Scullion talks about their reimagined version of The Fruit Smelling Shop for Bloomsday, working with Sonny Connell on their upcoming album and plans for touring.

The WCSA podcast, presented by Ben Lomand Connect, welcomes Gooby Martin and Phillip King to talk about the spring sports years. Martin and King reflect on 18-win seasons, great seniors and the outlook of their programs. WCSA editor-in-chief Jeff Simmons hosts. 

We're back with Phillip King, owner of 53 commercial properties and author of Engines of Wealth. In this episode he delves into how no matter your financials, just one commercial property can propel you into financial freedom. He shares the story of his favourite tenant of all time, followed by a list of tenants he loves to rent to— if you're a business owner, you may find you're on that list! Not a business owner? No worries, you can be sooner than you think. If you've wondered if it's possible to build $30,000 a year in equity before you even wake up for work, this is the episode for you! See acast.com/privacy for privacy and opt-out information.

We're back with Phillip King, owner of 53 commercial properties and author of Engines of Wealth. In this episode he delves into how no matter your financials, just one commercial property can propel you into financial freedom. He shares the story of his favourite tenant of all time, followed by a list of tenants he loves to rent to— if you're a business owner, you may find you're on that list! Not a business owner? No worries, you can be sooner than you think. If you've wondered if it's possible to build $30,000 a year in equity before you even wake up for work, this is the episode for you! See acast.com/privacy for privacy and opt-out information.

Phillip King has $30 million worth of reasons he's the Sutherland Shire's king of commercial real estate. Aftera 30+ year career at IBM Australia, where he was one of the first mobile phone owners and worked with computers as big as living rooms, he thought it was time for retirement. He was wrong.Harnessing 3 decades of commercial investment thanks to his childhood chats with his Uncle Joe, King realised his calling and jumped at the chance. Now with 53 commercial properties of his own and a database of 350 clients, he's living the career of his dreams.In this episode King delves into what it was like to grow up in God's country, where his childhood revolved around sport and definitely not around writing books! The author of Engines of Wealth: Commercial Retail Shops describes how and why he got involved in commercial property investing, and why residential property just wasn't the fit for him. Plus, millennials rejoice: we hear how you can have your avocado toast and flat whites and save for a house deposit, using just one spiralling method! See acast.com/privacy for privacy and opt-out information.

Phillip King has $30 million worth of reasons he's the Sutherland Shire's king of commercial real estate. Aftera 30+ year career at IBM Australia, where he was one of the first mobile phone owners and worked with computers as big as living rooms, he thought it was time for retirement. He was wrong.Harnessing 3 decades of commercial investment thanks to his childhood chats with his Uncle Joe, King realised his calling and jumped at the chance. Now with 53 commercial properties of his own and a database of 350 clients, he's living the career of his dreams.In this episode King delves into what it was like to grow up in God's country, where his childhood revolved around sport and definitely not around writing books! The author of Engines of Wealth: Commercial Retail Shops describes how and why he got involved in commercial property investing, and why residential property just wasn't the fit for him. Plus, millennials rejoice: we hear how you can have your avocado toast and flat whites and save for a house deposit, using just one spiralling method! See acast.com/privacy for privacy and opt-out information.

As the brains behind King's Estates Services and Realty, Phillip King helps families with estate liquidation and management, downsizing, and general consulting around elder transition services. In this episode, Phillip tells us about all the business opportunities that exist around having an estate services company. And be sure to listen to the end to hear Phillip talk about three amazing lead generation opportunities that likely have no competition from any other realtors in your town.    Agent Upgrade is proudly sponsored by Jasmine Mortgage Team, https://www.jasminemortgageteam.com/      

As the brains behind King's Estates Services and Realty, Phillip King helps families with estate liquidation and management, downsizing, and general consulting around elder transition services. In this episode, Phillip tells us about all the business opportunities that exist around having an estate services company. And be sure to listen to the end to hear Phillip talk about three amazing lead generation opportunities that likely have no competition from any other realtors in your town.    Agent Upgrade is proudly sponsored by Jasmine Mortgage Team, https://www.jasminemortgageteam.com/      

Take a trip back to the late 1980s with us as District 6AAA champion coaches Gooby Martin, Phillip King and Chris Sullens join the show. The group talk about their playing days, including their time with the Hall of Fame Americans Baseball team. WCSA editor-in-chief Jeff Simmons hosts. 

Assyria: A Very Short Introduction by Karen Radner (also recommend the related Very Short Introductions Ancient Near East; Babylon, Egypt, etc)Life in Biblical Israel by Phillip King and Lawrence StagerA History of the Ancient Near East by Marc Van de MieroopThe World around the Old Testament edited by Bill Arnold and Brent Strawn

TK is joined by her new co-host and brother, Phillip King (aka PK)!! The King kids dive into their New Years resolutions, vision for the podcast, and reminisce on what it was like growing up together as siblings. They also chat about their favorite tiktokers & fine dining experiences they've had in LA. PK shares the prank war that is happening between him & and his frat bros. Anything and everything JUICY! Don’t forget to leave a rating and a review! TK's IG TK's YouTube Channel TK's TikTok PK's IG PK's TikTok Have you taken one of TK's Juicy Polls? Well, get ready to take a bunch! Host, Taylor King (TK), is constantly posting juicy poll questions onto her instagram stories (@tksjuicypolls) for you, yes YOU, to participate in. During each episode, Taylor will host a new guest to come up with more juicy polls and discuss the interesting results! Questions range from food, dating, work, advice, anything really, as long as they are juicy. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/tksjuicypod/support

Join Paul as he welcomes Washington High School head softball coach Phillip King to the show.  Hear him talk about his team and how the program is doing this season (spoiler alert, they are doing really well).  This plus an update on the success of the past coaches who have been on the show and scores from the past week as well.  As always, if you would like to comment on the show, please feel free to email me at trainerpaul72@gmail.com.  Thanks for listening!

Phillip King returns to the show to report on the state of the retail sector during the current COVID climate. He shares where he is still finding quality retail assets and an interesting way he is inspecting interstate properties. James Dawson and I tackle a subject that doesn’t get discussed too often, and that’s the settlement process. What exactly should a new investor expect? What documents should you receive? What physical items should I receive, if any? And most importantly where can it all go wrong?  The Official Commercial Property Show Website www.commercialpropertyshow.com.auJames Dawson Webinar - The #1 Australian Online Commercial Property Course https://www.jamesdawsoncommercial.com.au/cpsPhillip King Engines of Wealth Website: https://enginesofwealth.com/ Develop a Life - Subdivision Management Service We help everyday Mums and Dads Subdivide their family home. Request a Free Subdivision Assessment Today. https://www.developalife.com.au/FACEBOOK - @developalifeINSTAGRAM - @developalifeTWITTER - @developalife HOST: Andrew Bean Ph: 0410 694 633 Email: ab@developalife.com.auLinkedIn: http://linkedin.com/in/andrewbean28Instagram: @andrewbean28 APPLE PODCAST LINK https://podcasts.apple.com/au/podcast/commercial-property-show-australia/id1500207613PODBEAN LINK https://andrewbean.podbean.com/FACEBOOK PAGEhttps://www.facebook.com/commercialpropertyshow/YOUTUBECommercial Property Show AustraliaWEBSITE www.commercialpropertyshow.com.au FOLLOW THE SHOW ON FACEBOOK - @commercialpropertyshowINSTAGRAM - @commercialpropertyshoTWITTER - @compropertyshowYOUTUBE - Commercial Property Show Australia 

James Dawson compares the Global Financial Crisis to the current Coronavirus climate. He shares his thoughts about who will be hit the hardest, Commercial or Residential and the buffers he has in place in his own portfolio.  Adam Leacy from Commercial Collective does a deep dive into the Newcastle market. He lets us in on the upcoming development projects in the area and what the future of Newcastle may look like. Phillip King author of the Engines of Wealth, Commercial Retail Shops explains why he has chosen the retail sector as his preferred investment. He also shares the types of businesses to look for and a few excellent tips to add extra security to your retail investment. Chris Lang answers the question in the back of everyone's mind.  Are we going to have a recession? He also outlines the 4 investment characteristics which need to be combined, and the 3 preferred types of property to make your next investment recession-proof.   Chris Lang's Key Note address 9-Step Investment Formula. Instead of the normal price of $67, insert 66off into the discount coupon code & access the 9-Step Formula for just $1. https://propertyedge.samcart.com/products/keynote-address-for-andrew-beans-listners/   James Dawson - The Truth About Where The Big Boys Invest.  https://www.jamesdawsoncommercial.com.au/cps   Commercial Collective - Newcastle's Premier Commercial Realestate Agency  https://www.commercialcollective.com.au/   Engines of Wealth - Commercial retail shops  https://enginesofwealth.com/   Develop a Life - Investing as a Team  We source Commercial & Residential property development sites. If its time to sell your property, we want to know about it. We might be able to pay above-market prices.  Phone: 0410 694 633 Email: ab@developalife.com.au  https://www.developalife.com.au/  

What you’ll learn in this episode: How Galerie MiniMasterpiece works with artists and designers to create and showcase small scale wearable art. The renowned artists and designers Esther has worked with and the pieces they have created. How the avant-garde jewelry scene in Paris has begun to grow in international profile. Why American women are seen as more free in their style choices compared to European women. About Esther de Beaucé: Esther de Beaucé is the founder and owner of Galerie MiniMasterpiece in Paris, France. MiniMasterpiece is a gallery entirely dedicated to contemporary artists, designers and architects’ jewelry. The gallery is an invitation given to those who usually never design jewelry because their work evolves on a more monumental scale (i.e. sculptures). Esther’s passion is to convince those artists to change the scale of their work and accompany them in that new field of wearable art. She has collaborated with acclaimed contemporary artists such as Phillip King, Bernar Venet, Andres Serrano, Lee Ufan, Jean-Luc Moulène, and Pablo Reinoso. Esther previously co-owned the gallery Schirman & de Beaucé in Paris, dedicated to young artists of contemporary art. Additional resources: Website Instagram

'TK's Juicy Pod', by Taylor King, is all about the Juicy poll questions she asks on her Instagram stories. Indiana University Students, Phillip King (my brother) and Nate Sapal come on the pod to talk all about being in a frat and gaming girls in college. Don’t forget to leave a rating and a review! Have you taken one of TK's Juicy Polls? Well, get ready to take a bunch! Host, Taylor King (TK), is constantly posting juicy poll questions onto her instagram stories (@tksjuicypolls) for you, yes YOU, to participate in. During each episode, Taylor will host a new guest to come up with more juicy polls and discuss the interesting results! Questions range from food, dating, work, advice, anything really, as long as they are juicy. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/tksjuicypod/support

'TK's Juicy Pod', by Taylor King, is all about the Juicy poll questions she asks on her Instagram stories. Indiana University Students, Phillip King (Taylor’s Brother) and Tanner Shapiro join Taylor to create juicy poll questions, and talk about the results as the votes come in. Phil and Tanner talk all about growing up in Indiana as a hoosier, attending Indiana University for college, joining a frat, Greek life at IU, living in bloomington for college, partying and much more.They also answer several girl/relationship related questions and give girls (especially sorority/college girls) great insight on what 307s like versus what they don’t like. Don't forget to leave a review! Have you taken one of TK's Juicy Polls? Well, get ready to take a bunch! Host, Taylor King (TK), is constantly posting juicy poll questions onto her instagram stories (@tksjuicypolls) for you, yes YOU, to participate in. During each episode, Taylor will host a new guest to come up with more juicy polls and discuss the interesting results! Questions range from food, dating, work, advice, anything really, as long as they are juicy. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/tksjuicypod/support

Listen to last week’s live broadcast below: Simply click the link above to listen to our most recent show with special guest PHILLIP KING “THE BEAT BOXING HARPIST”(@phillipkingharpist) interview, new music, & live studio beatbox performance! We bumped into Phillip King playing his harp & beatboxing at the same time outside of The Hollywood Bowl. READ MORE

Sculptor Phillip King on his career as he turns 80 this week, Paul Heaton and Jacqui Abbott have released an album together for the first time since their multi-million selling days of The Beautiful South. They talk to John about their reunion and about Paul's belief in the importance of maintaining a "lippy" attitude. Writer Sally Wainwright talks about turning to crime with BBC One's Happy Valley after the success of Last Tango in Halifax; and we review Seth Rogan's latest film Bad Neighbours. With John Wilson.

Bob Wilcox and Gerry Kowarsky review (1) SUNDAY IN THE PARK WITH GEORGE, by Stephen Sondheim and James Lapine, at the Repertory Theatre of St. Louis, (2) ON GOLDEN POND, by Ernest Thompson, at The Black Rep, (3) TESSITURA, at Circus Harmony, (4) LA CAGE AUX FOLLES, by Jerry Herman and Harvey Fierstein, at the Fox Theatre, (5) SEE HOW THEY RUN, by Phillip King, at the Theatre Guild of Webster Groves, (6) THE SEAFARER, by Conor McPherson, at West End Players Guild, and (7) THE ELVES AND THE SHOEMAKER, by Sarah Brandt & Neal Richardson, at the Imaginary Theatre Co.

This week Libby Purves is joined by Bran Symondson, Joan Woodcock, Greg Hicks and Phillip King. Bran Symondson is a serving soldier in the British Army Reserve. Whilst on a six month tour of Afghanistan he became fascinated by the Afghan National Police (ANP), their ethos and their daily existence in the war with the Taliban. When he was given the opportunity to return and document these characters as a civilian photographer in 2010, with the Sunday Times, he was able to capture a unique perspective on the current conflict. An exhibition: The Best View of Heaven is from Hell is at Idea Generation Gallery, London E2. Joan Woodcock was sixteen when she began her nursing career as a cadet nurse, a career that spanned over forty years in NHS nursing. Working on hospital wards, casualty units and out in the community, as well as prison and a police unit dealing with sexual assault, Joan has seen it all. 'Matron Knows Best - the true story of a 1960s NHS nurse' is published by Headline. The actor Greg Hicks plays King Lear in the Royal Shakespeare Company's season at the Roundhouse. A stalwart of the RSC and classical theatre in general, he's also a talented musician, playing a mean blues harp and is an expert in the Brazilian martial art form of 'capoeira'. Phillip King is a sculptor. He was tutored by the legendary Anthony Caro and worked as assistant to Henry Moore. He represented Britain at the Venice Biennale in 1968 and was President of the Royal Academy from 1990 to 1999. Born in Tunis in 1934, his work is influenced by the sense of strong colour and light that he remembers from living there. His show of new and old work is currently at Flowers Gallery, to coincide with the Royal Academy's 'Modern British Sculpture', both in London.