Podcasts about ruskin school

Amy returns to a book from Season One - Unwell Women - now joined by the author Dr. Elinor Cleghorn! This conversation unpacks the history of women's healthcare, looks at medical myths and women's pain, and explores the patriarchal shadow which still looms over our health outcomes.Listen to the original episode about Unwell Women here.Dr Elinor Cleghorn has a background in feminist visual culture and history, and her critical writing has been published in several academic journals including Screen. After receiving her PhD in in 2012, Elinor spent three years as a post-doctoral researcher at the Ruskin School, University of Oxford, working on an interdisciplinary medical humanities project. She has given talks and lectures at the British Film Institute, where she has been a regular contributor to their education programme, Tate Modern, and ICA London, and she has appeared on the BBC Radio 4 discussion show The Forum. In 2017, she was shortlisted for the Fitzcarraldo Editions essay prize. She now works as a freelance writer and researcher. Her non-fiction debut, Unwell Women, was published in June 2021. She is currently working on her next book on intersectional feminist history of women and mother-led knowledge around reproduction, pregnancy, birth and mothering.

"Lookaftering" Well, we talked about doing the thing and the fact of the matter is, the British-born Vashti Bunyan started doing the thing pretty early. In the 1960s, while studying at the Ruskin School of Drawing and Fine Art at Oxford, Bunyan was expelled for focussing more on making music than on drawing. So she went home and started making music. When her mother's hip actress friend got the 19 year old Bunyan a face to face with the Stones' manager Andrew Loog Oldham, he was properly charmed and handed her the Stones track "Some Things Just Stick In Your Mind" to record. And so she did. Backed by her own song "I Want To Be Alone," "Some Things" featured Jimmy Page on guitar, but it didn't turn as many heads as Bunyan had hoped. She did another single, sang on a Twice As Much album, and appeared in a documentary about swinging London. So the ball was rolling. Bunyan and her fella hit the road in search of an artistic community and she ended up Holland, The Scottish Highlands and the Cumbrian Mountains. Her journey informed the songs for her debut album Just Another Diamond Day, which is fabulous, but was too fabulous for the time it was released. Look, sometimes the world just has to catch up and it did. But it took 30 years. Bunyan was so disappointed by Diamond Day not really troubling the charts, she hung up her guitar, lived in the Scottish Borders in cottages occupied by the Incredible String Band and raised three kids, putting her music career on mothballs, seemingly for good. The world was quietly catching up however, and Diamond Day had sneakily become a cult classic. It was re-released in 2000 and with Joanna Newsom and Devendra Banhart championing her work, Bunyan was introduced to a whole new generation, who adored her. Since then, she's recorded two more albums--Lookaftering and Heartleap--and she's appeared on albums by Banhart and Animal Collective, she appeared at London's Royal Festival Hall with The Heritage Orchestra () as part of Massive Attack's Meltdown (https://en.wikipedia.org/wiki/Meltdown_(festival)), she wrote a memoir, and was the subject of a full-length documentary. So she's back. Yes. No. I mean, sort of. But I also mean yes. Confused? You won't be for long. To commemorate Lookaftering's 20th anniversary, DiCristina Records is releasing an expanded edition of Bunyan's sophomore album and it's packed with demos, live stuff, fabulous liner notes, lyric sheets and paintings by Bunyan's daughter. Bunyan's music is hard to classify--it's bedroom pop that isn't pop and wasn't recorded in a bedroom but it's got this hushed and fractured quality that's filled with mysterious power. This conversation is a real treat and in the end, there's an unexpected walk across the rooftops that's really cool. IG: @vashtibunyan www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers IG: @emberspodcast Bluesky: @emberspodcast Email: editor@stereoembersmagazine.com

This week's Culture Tuesday features a fascinating conversation with Helen Ewes, a renowned artist and Laudato Si' Animator. Helen shares her artistic journey, which has increasingly focused on addressing the pressing climate and ecological crises. A graduate of the Ruskin School of Art in Oxford and the Royal Academy Schools, Ewes has exhibited widely, but her recent work is deeply rooted in her concerns about environmental degradation and governmental inaction. One of the key highlights of the discussion is Helen's powerful artwork, particularly her banner "Mother of Mercy", which has become a symbol of environmental activism. The piece portrays a modern-day Madonna della Misericordia in a landscape ravaged by fire, symbolizing the destruction of rainforests. Mary is shown with her cloak protecting endangered animals, the Tree of Life, and figures in prayer, while the plea "Mother of Mercy - Pray For Us" is emblazoned above. This banner has accompanied protests and pilgrimages, such as the Camino to COP 26, demonstrating the role of art in activism. Helen offers deep insights into how her work and art, in general, can be a powerful medium for expressing grief for the planet and urging action to combat environmental crises.

Donato Wharton is a Sound Designer and Musician, he was born in Cardiff Wales in 1976, he grew up in Worthing West Sussex and went to school in Stuttgart in southern Germany. Donato's career as a musician, and his life in theatre began in Stuttgart. Donato's music spanning the genres of Alternative Rock, Hip Hop, Electronica, Digital Ambient and Filed Recording based music has been published on several labels. The first of these releases is from 1995 and his music has been used in radio features, television programs, theatre productions and art installations internationally. Donato trained for Sound Design in Theatre at the Royal Central School of Speech and Drama in London, and holds an MSC in Digital Composition and Performance from the Reid School of Music, University of Edinburgh. As a Sound Designer Donato works almost exclusively in theatre, his work has been heard at major theatre in the UK and abroad in Germany, France, the Netherlands and the US. Donato also teaches Sound Design, is a lecturer in Sound Design and Production at the Royal Central School of Speech and Drama in London, has also given lectures and workshops at the Royal Academy of Art, the Royal College of Artand the Ruskin School of Art Oxford, amongst others. Donato is a native speaker of both English and German, he lives in Reading, Berkshire and is married and has a son.

We don't talk about the technical and logistical aspects of death enough. For example: How does one's economic status affect the conditions in which they die? Do gender identities play a role in how people receive end of life care? Can we choose the memories that we want to leave behind for our loved ones? And how does social media become an archive of one's life after passing? We speak to artist Oreet Ashery about death in the digital age. Oreet Ashery is a visual artist whose practice navigates established, institutional and grassroots contexts. Ashery was a Turner Bursary recipient in 2020 and won the prestigious Jarman Film Award in 2017 for her web-series Revisiting Genesis, which looks at the emergent field of digital death. Ashery is Professor of Contemporary Art at the Ruskin School of Art, University of Oxford. To watch Revisiting Genesis: https://revisitinggenesis.net/ Oreet's work: http://oreetashery.net/

Ep.160 features Tunji Adeniyi-Jones (b. 1992, London, United Kingdom), an artist living and working in New York, NY. Adeniyi-Jones received a BFA from The Ruskin School of Art, University of Oxford, Oxford, United Kingdom, in 2014, and an MFA from Yale University School of Art, New Haven, CT, in 2017. Recent solo exhibitions include Deep Dive, White Cube, Hong Kong, China (2023); Tranquil Dive, Morán Morán, CDMX, Mexico (2023); Emergent Properties, Nicelle Beauchene Gallery, New York, NY (2022); Voix Intérieures, White Cube, Paris, France (2022) among others. His work has been included in numerous group exhibitions, including When We See Us: A Century of Black Figuration in Painting, Zeitz MOCAA, Cape Town (2022); In Our Time: Selections from the Singer Collection, Scottsdale Museum of Contemporary Art, AZ (2022); Out of the Fire: The 14th Dakar Biennale, Senegal (2022); Fire Figure Fantasy: Selections from the ICA Miami's Collection, ICA Miami, FL (2022); All Things Bright and Beautiful, Birmingham Museum of Art, AL (2022); among others. Adeniyi-Jones's work is included in the permanent collections of the Aishti Foundation, Lebanon; the Dallas Museum of Art, TX; the Nasher Museum of Art, Durham, NC; Institute of Contemporary Art, Miami, FL; The Studio Museum, Harlem, NY; among others. Headshot Photo © On White Wall, 2023 Artist https://www.tunjiadeniyi-jones.com/ White Cube https://www.whitecube.com/artists/tunji-adeniyi-jones David Zwirner https://www.davidzwirner.com/viewing-room/2022/utopia-editions-tunji-adeniyi-jones Flag art foundation https://www.flagartfoundation.org/exhibitions-tunji-adeniyi-jones Ocula https://ocula.com/art-galleries/white-cube/exhibitions/tunji-adeniyi-jones-deep-dive/ ARTNews https://www.artnews.com/art-news/market/phillips-london-tunji-adenjiyi-jones-jean-dubuffet-results-1234589900/ Cultured https://www.culturedmag.com/article/2021/09/20/tunji-adeniyi-jones Hypebae https://hypebae.com/2023/3/tunji-adeniyi-jones-deep-dive-exhibition-white-cube-hong-kong-about Art Asia Pacific https://artasiapacific.com/people/the-mischievous-clamoring-of-ornament-interview-with-tunji-adeniyi-jones Morán Morán https://moranmorangallery.com/artists/tunji-adeniyi-jones/ Tatler Asia https://www.tatlerasia.com/lifestyle/arts/tunji-adeniyi-jones-first-exhibition-hong-kong Guest Artists Space https://www.guestartistsspace.com/News/event-interwoven-histories Black Rock Senegal https://blackrocksenegal.org/tunji-adeniyi-jones/ Contemporary Art Daily https://www.contemporaryartdaily.com/project/tunji-adeniyi-jones-at-nicelle-beauchene-gallery-new-york-25835

Today's episode is a replay of one of my most popular episodes that I'm sure you will enjoy. Please tune in and share with your friends. We, as women, have absorbed much history into ourselves over time regarding our bodies and our health. We wonder why we feel unheard and dismissed, and the more we learn, the more enraged we should become about how modern Western medicine has treated women with medical and mental health conditions. Join today's conversation for deep insight and a message of hope.  Dr. Elinor Cleghorn is a feminist cultural historian, and her critical writing has been published in several academic journals. After receiving her Ph.D. in 2012, she spent three years as a post-doctoral researcher at the Ruskin School, University of Oxford, where she worked on an interdisciplinary medical humanities project. She is the author of Unwell Women: Misdiagnosis and Myth in a Man-Made World, a book that I recommend highly to all our listeners.  Show Highlights: What brought Elinor to write the book after a lupus diagnosis that followed a very complicated pregnancy with her son How Elinor began her research with urgency into her lupus diagnosis and the history of medicine, expanding into other commonly misdiagnosed diseases in women Why Elinor began at the beginning, learning about ancient Greece and the formation of medical practice How women's bodies were viewed largely as reproductive vessels to produce and mother male heirs Why men in ancient patriarchal societies began to assert social control over women and their bodies How the Western medical model has been affected by social thinking, myths, and fantasies about women's roles How the word hysteria has been applied to a misunderstanding of women and was originally derived from a word for the uterus How medical leverage was used in horrible ways against black enslaved women in 19th century America, leading to gynecological violence and reproductive abuse Why Elinor wanted her book to expand to cover women's experiences all over the world and not just be her personal story What Elinor has discovered about women's mental health across history How dominant ideas have shaped societal views about the ideal motherhood and “how mothers SHOULD feel” Elinor's hopes for readers of the book: “Remember that your body is your own, no matter how medical caregivers might make you feel.” Resources: Unwell Women: Misdiagnosis and Myth in a Man-Made World by Elinor Cleghorn Connect with Elinor:  Twitter and Instagram Learn more about your ad choices. Visit megaphone.fm/adchoices

#actor #hollywood #podcast ** New Episodes Wednesdays 1pm CST -- Click SubscribeActor Jacob Taylor was born and raised in central Kentucky. After college, Jacob moved to Los Angeles to pursue his acting career and to study under well renowned acting teacher John Ruskin, at the The Ruskin School of Acting where Jacob honed in his craft with The Meisner Technique, a 2 year study. Jacob is known for his wide work across TV and streaming platforms. Actor Profile https://www.backstage.com/u/jacobtaylor/ Starring in Lifetime's "Husband, Wife, and their Lover". Opposite actress Nicki Leigh and Emmy Winning director Lane Shefter Bishop. Jacob also guest starred in the multi Daytime Emmy winning show "The Bay" streaming on Peacock. Co-starring in Paramount + "The Offer'' alongside Miles Teller, as well as a featured role in Christopher Nolan's new biographical film "Oppenheimer'' with actor Cillian Murphy and Kenneth Branagh. Best known for A Criminal Affair (2021), The Killer in My Backyard (2021), and Fatal Memory (2021).Website www.luxelifediscovered.com Youtube Roku Amazon Fire TV

Francis Hamel discusses with Ivan six things which he thinks should be better known. Francis Hamel is a British painter based in the UK with studios in Oxfordshire and Le Marche, Italy. He is known for landscapes and portraits as well as finely structured paintings of trees and flowers, paintings of the circus and theatre. In 2019 the V&A held an exhibition of his portraits, a monograph of his work was published in the same year. Born in 1963 and trained at The Ruskin School, Oxford Francis Hamel has lived and worked in the William Kent designed gardens of Rousham in Oxfordshire for more than twenty years. The house, gardens and wider landscape are a constant source of inspiration. His work is held in public and private collections all over the world. Find out more at https://www.jmlondon.com/artists/francis-hamel/ and https://francishamel.com. Drawing as a form of therapy https://www.theschooloflife.com/shop/drawing-as-therapy/ Jane Dowling http://www.chappelgalleries.co.uk/exhibitions/jane-dowling/jane-dowling.htm John Cowper Powys https://www.nybooks.com/articles/1985/03/28/life-in-the-head/ Le Marche https://www.lonelyplanet.com/articles/top-experiences-italy-le-marche Bitter Cherries https://en.wikipedia.org/wiki/Prunus_cerasus Rousham Gardens in the winter https://rousham.org/ This podcast is powered by ZenCast.fm

This is a rebroadcast of an episode of This Thing We Call Art, a podcast where the host Kelly Lloyd speaks to people in the arts about their livelihoods. Lloyd originally interviewed artist Nicole Morris on February 25, 2021 and the 44-minute episode featuring portions of the two and a half-hour-long conversation was released on February 24, 2022. The podcast features a conversation that includes discussion of navigating being a solo artist and an art educator, the limitations of the formats of the solo show and the retrospective, motherhood, reproductive labor and care labor, and incidental interruptions in the creative process. Kelly Lloyd is a transdisciplinary artist who focuses on issues of representation and knowledge production and prioritizes public-facing collaborative research. Lloyd has recently held solo exhibitions at the Royal Academy Schools (London), Crybaby (Berlin), Bill's Auto (Chicago), Demo Room (Aarhus), and Dirty House (London) for which she won the Art Licks Workweek Prize. Lloyd was the Starr Fellow at the Royal Academy Schools during the 2018/19 school year and is currently studying at The University of Oxford's Ruskin School of Art and Wadham College for her DPhil in Practice-Led Fine Art with support from an All Souls-AHRC Graduate Scholarship and an Open-Oxford-Cambridge Doctoral Training Programme Studentship. In 2021, Lloyd launched This Thing We Call Art, a podcast and online archive featuring excerpts from 50+ interviews with people in the arts she has conducted since 2017. Nicole Morris is an artist working across gallery, education and community settings both in a solo and collaborative context. Her work uses textiles and film to explore themes of domesticity and labour and how these are performed or re-presented in new contexts. Her work has recently been included in exhibitions and projects at The Foundling Museum, London; Southwark Park Galleries, London; Royal Museums Greenwich, London; The Drawing Room, London; [SPACE], London; Baltic, Gateshead; South London Gallery; Bluecoat, Liverpool; G39, Cardiff; Jerwood, London and The National Gallery, Prague.

This is a rebroadcast of an episode of This Thing We Call Art, a podcast where the host Kelly Lloyd speaks to people in the arts about their livelihoods. Lloyd originally interviewed artist Gordon Hall on March 1, 2021 and the 43-minute episode featuring portions of the three-hour-long conversation was released on February 17, 2022. The podcast features a conversation about Hall and Lloyd's experiences in art education at the School of the Art Institute of Chicago, how art institutions handle interdisciplinarity, and the ethical responsibility of art school educators. Hall, currently an Assistant Professor of Sculpture at Vassar College, has included an addition to this rebroadcast to highlight how in the Spring of 2022, the contingent faculty at the School of the Art Institute of Chicago formed a union, Art Institute of Chicago Workers United, (AICWU) which is now certified with the National Labor Relations Board. The union is currently preparing to negotiate their first contract. You can follow their efforts and support them at aicwu.org and on social media at AIC_WU on Instagram, AICWUTweets on Twitter, and AIC Workers on Facebook. Kelly Lloyd is a transdisciplinary artist who focuses on issues of representation and knowledge production and prioritizes public-facing collaborative research. Lloyd has recently held solo exhibitions at the Royal Academy Schools (London), Crybaby (Berlin), Bill's Auto (Chicago), Demo Room (Aarhus), and Dirty House (London) for which she won the Art Licks Workweek Prize. Lloyd was the Starr Fellow at the Royal Academy Schools during the 2018/19 school year and is currently studying at The University of Oxford's Ruskin School of Art and Wadham College for her DPhil in Practice-Led Fine Art with support from an All Souls-AHRC Graduate Scholarship and an Open-Oxford-Cambridge Doctoral Training Programme Studentship. In 2021, Lloyd launched This Thing We Call Art, a podcast and online archive featuring excerpts from 50+ interviews with people in the arts she has conducted since 2017. Gordon Hall is an artist based in New York who makes sculptures and performances. Hall has had solo presentations at the MIT List Visual Arts Center, The Portland Institute for Contemporary Art, The Renaissance Society, EMPAC, and Temple Contemporary, and has been in group exhibitions at The Whitney Museum of American Art, The Brooklyn Museum, The Hessel Museum, Art in General, White Columns, Socrates Sculpture Park, among many other venues. Hall's writing and interviews have been published widely, including in Art Journal, Artforum, Art in America, and Bomb, as well as in Walker Art Center's Artist Op-Ed Series, What About Power? Inquiries Into Contemporary Sculpture (published by SculptureCenter), and Documents of Contemporary Art: Queer (published by Whitechapel and MIT Press.) A volume of Hall's collected essays, interviews, and performance scripts was published by Portland Institute for Contemporary Art in 2019. Hall is Assistant Professor of Sculpture at Vassar College.

Shila Ommi stopped by Silence on Set podcast to talk about what fans can expect as the latest season of Tehran on Apple+ wraps up, her experience on Little America, how she got the role of Nahid Kamali and why theatre is so important.  Host: Monica Gleberman Editor: Ashley Pelletier Social Media Graphic: Jojo -- Bio: Shila Ommi is an American actress, director, writer and producer who was born in Tehran, Iran, and grew up in Los Angeles. She has directed and produced award winning plays in Los Angeles, and for over a decade she toured internationally under the name Shila Vosough in an Iranian-American theater production company performing plays in Persian. Shila directed the feature film, 'Wake Up Sleeping Beauty', a psychological dramatic film about a young Iranian-American woman waking up from cultural trappings and 'curses,' and coming into her own power. It was produced by the Los Angeles County Department of Mental Health. A graduate of UCLA, Ommi received a Departmental Honors for a 'Bachelor of Science in Biological Anthropology' minoring in Biology, where she wrote a published thesis on 'Parental Investment Among Vervet Monkeys.' She later attended the Ruskin School of Acting where she studied under the tutelage of John Ruskin and Sir Anthony Hopkins. In addition to emceeing charities, hosting award shows, moderating and occasionally performing stand-up comedy, Ommi is also a prolific voice-over artist narrating documentaries and voicing characters in animated TV and web series.

“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

We, as women, have absorbed much history into ourselves over time regarding our bodies and our health. We wonder why we feel unheard and dismissed, and the more we learn, the more enraged we should become about how modern western medicine has treated women with medical and mental health conditions. Join today's conversation for deep insight and a message of hope.  Dr. Elinor Cleghorn is a feminist cultural historian, and her critical writing has been published in several academic journals. After receiving her Ph.D. in 2012, she spent three years as a post-doctoral researcher at the Ruskin School, University of Oxford, where she worked on an interdisciplinary medical humanities project. She is the author of Unwell Women: Misdiagnosis and Myth in a Man-Made World, a book that I recommend highly to all our listeners.  Show Highlights: What brought Elinor to write the book after a lupus diagnosis that followed a very complicated pregnancy with her son How Elinor began her research with urgency into her lupus diagnosis and the history of medicine, expanding into other commonly misdiagnosed diseases in women Why Elinor began at the beginning, learning about ancient Greece and the formation of medical practice How women's bodies were viewed largely as reproductive vessels to produce and mother male heirs Why men in ancient patriarchal societies began to assert social control over women and their bodies How the western medical model has been affected by social thinking, myths, and fantasies about women's roles How the word hysteria has been applied to a misunderstanding of women and was originally derived from a word for the uterus How medical leverage was used in horrible ways against black enslaved women in 19th century America, leading to gynecological violence and reproductive abuse Why Elinor wanted her book to expand to cover women's experiences all over the world and not just be her personal story What Elinor has discovered about women's mental health across history How dominant ideas have shaped societal views about the ideal motherhood and “how mothers SHOULD feel” Elinor's hopes for readers of the book: “Remember that your body is your own, no matter how medical caregivers might make you feel.” Resources: Amazon:  Unwell Women: Misdiagnosis and Myth in a Man-Made World by Elinor Cleghorn Connect with Elinor:  Twitter and Instagram

Few figures make such a seismic impact on their artistic medium that they transform its reputation from childish pulp entertainment to a vital and exhilarating creative form, capable of exploring the great mysteries of metaphysics, science, and the human spirit – but Alan Moore is one. A modern-day alchemist who transmuted comic books into literary gold, his works not only inspired a later generation of authors who are now household names, from Neil Gaiman to Susanna Clarke, but filmmakers, artists, and storytellers in every medium. Alexandra Ocasio Cortez quotes him online; the Occupy and Anonymous movements adopt the mask of his hero V; and Time magazine honours Watchmen as one of the 20th century's greatest works of literature. A sculptor, poet, performance artist and professor at Oxford's Ruskin School, Brian Catling's creativity transcends any given form. Late in his career he turned his attention to the novel, reimagining its possibilities from the ground up to produce one of the most startling rich and strange works of fantasy ever produced: The Vorrh. Now he returns to the literary world with Hollow: the mesmerising tale of a band of mercenaries journeying through the grotesque, monstrous landscapes of Hieronymus Bosch to deliver an oracle to the monastery at the foot of the Tower of Babel. Coming together to celebrate the magic of human creativity, this unmissable conversation will restore your faith in the power of art to transform life. Learn more about your ad choices. Visit megaphone.fm/adchoices

For Video Edition, Please Click and Subscribe Here: https://youtu.be/0eLdc24oaJk Spencer Garrett currently stars opposite John C.Reilly, Sally Field, Adrien Brody, Gaby Hoffman, Jason Segal and Jason Clarke as legendary Lakers broadcaster Chick Hearn in Adam McKay's ‘Winning Time' for HBO Spencer is a third generation actor whose career spans 30 years in film, television and theatre. The son of former SAG President and multi-hyphenate actor/activist Kathleen Nolan (‘The Real Mc Coys, ‘Peter Pan' on Broadway) and grandson of actors Clara Kennedy and Stephen Ellsworth - all of whom plied their trades on the famed Goldenrod Showboat Theatre on the Mississippi River in St Louis - Spencer has had acting in his blood since childhood. His film highlights include ‘Public Enemies' and 'Blackhat' for frequent collaborator Michael Mann, 'Air Force One', ‘Charlie Wilson's War','Thank You for Smoking','Bobby', Lovely and Amazing', and 2019's ‘The Public' for director Emilio Estevez, Jason Reitman's ‘The Frontrunner', 'Bombshell', and Quentin Tarantino's ‘Once Upon a Time n Hollywood'. On Broadway: 'Roots and Wings' and 'America's Spirit'.  Over 150 major guest or recurring roles in television including ‘Will and Grace' ,'Chicago P.D', 'Mad Men', “Madam Secretary', 'Law and Order'.  He is a proud member of the Motion Picture Academy (AMPAS) and Television Academy (ATAS). He attended Duke and Fordham Universities and currently teaches a master class at The Ruskin School in Los Angeles. He divides his time between Los Angeles and Washington, D.C.

On this episode of Asian Voices Radio, Alexa Khan tells us about her Mongolian background along with her experiences of how she became a film producer from being an actress and a financial advisor. A Mongolian-born American actress and producer, Khan grew up on stage in Mongolia and has loved the performing arts since she was a child. When Alexa moved to Los Angeles, she immersed herself in the acting methods of Sanford Meisner and Stella Addler at the Ruskin School of Acting. She has since performed on stage as well as in numerous shorts and feature films. Her ability to portray elegance with power and strength with grace has landed her parts in several films.

Amy: Welcome to Breaking Down Patriarchy! I'm Amy McPhie Allebest. Every year on my birthday since about fourth grade, when my birthday cake is brought out and I blow out my candles, I have thought, “I wish for my mom to get better.” All these years later that's still what I wish for, every single year. My mom has dealt with chronic pain for her entire life, and there were some years as I was growing up that she was in bed with the lights out with a violent migraine for half of the week, every week. She has also suffered from back pain, jaw pain, and stomach pain among other things, and her doctors' inability to help her, despite their best efforts, was a huge source of discussion and anguish in my house, growing up. So when I heard the title Unwell Women: Misdiagnosis and Myth in a Man-Made World, I knew this was a book we had to add to our reading list. And then I immediately knew who I wanted to read it with me, and that's Cassy Christianson, from my master's program. So I'm excited to welcome you to the show today Cassy! Thanks for being here! Cassy: It's a pleasure! Amy: We met in Anne Firth Murray's class, etc., invite to share bio. Cassy:  I am a therapist working in pediatrics and maternal health and inclusion specialist but like you, I also went back to school and graduated from Stanford with a focus on the history of medicine. We met there in Anne Firth-Murray's  seminar on Global Women's Health-- that's a subject I am really passionate about and on which  much of my writing focuses on. My research involves the history of medicine, especially women's health in the Early Modern period in France.  I talk and write about this alongside covering current research in both pediatrics and maternal health and am currently working on an exhibition on Women in Science and Medicine during the Renaissance that will be at Stanford in the Fall of 2023.  So  I've happily been on the West coast for a long time now but I grew up in Florida, living for quite a while on the island of Key West.  My family, originally midwesterners, came from strong Scandinavian roots so I'm a mix of that and the Latin culture so prevalent in Florida.  Now, I'm also French, through marriage and raising three bilingual, bicultural boys.   Amy: Tell me your thoughts about the term “Breaking Down Patriarchy” Cassy: I'm very excited to be with you today both as a fan of your own work exposing  patriarchy and as a feminist who sees the difficulties in the history of women's health as being largely attributable to patriarchy. Much of my research has been searching for collaboration and exchange between medical women and men.  It's been hard to find!  So my writing is often unpacking the hows and whys surrounding the early modern masculinization of work surrounding women's sexual and reproductive health. Amy: Intro of the author: Elinor Cleghorn has a background in feminist culture and history, and her critical writing has been published in several academic journalsAfter receiving her PhD in humanities and cultural studies in 2012, Elinor worked for three years as a postdoctoral researcher at the Ruskin School of Art at the University of Oxford on an interdisciplinary arts and medical humanities project. She now works as a freelance writer and researcher and lives in Sussex. Her own pain and other symptoms were dismissed for seven years before she was finally diagnosed with lupus. Cassy: Introduction Throughout much of history, a woman's worth depended on having children: whether it was through forging alliances by producing heirs, continuing the family line or producing children to assist their parents in the fields or household. Within a society that viewed reproduction as the primary role of a woman, medical men reduced women's illness entirely to being attached to their reproductive organs.  Throughout the book, Cleghorn often brings us back to...

Alvin Ong is a graduate of the Ruskin School of Art, University of Oxford, UK (2016) and the Royal College of Art, London, UK (2018). His paintings playfully combine diverse visual vocabularies alongside his own lived experience of hybridity and distance across a variety of spaces, physical and virtual. His works are collected by ILHAM Gallery, Ingram Collection, Victoria & Albert Museum (Print Collection), and X Museum. He lives and works in Singapore and London.

In episode 75 of The Great Women Artists Podcast, Katy Hessel interviews one of the most exciting young painters working today, Kudzanai-Violet Hwami !!!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] Born in Zimbabwe and raised between there, South Africa, and the UK, Hwami is fast becoming one of the leading artists of her generation. Having received her BA from Wimbledon College of Arts, where she was shortlisted for the Bloomberg New Contemporaries, among many other prizes; this year, Hwami completed an MFA at the Ruskin School of Art at Oxford University. In 2019, she represented her country of birth at the 58th Venice Biennale alongside three artists, and in the same year had her first institutional solo show at Gasworks in London called (15,952km) via Trans – Sahara Highway N1. Rich in colour, subject, and scale, Hwami's exuberant and vivid paintings of self-portraits and her extended family draw on the artist's autobiographical history. Sourced from images ranging from the internet to family photo albums, they explore representations of the black body, along with notions of sexuality, gender and spirituality. Experimenting with photography and digitally collaged images, and often incorporating other media such as silkscreen, pastel or charcoal, Hwami's bold painting's offer an insight into a deeply personal world, whilst also appearing universal and familiar; the artist has said, ‘with the collapsing of geography and time and space, no longer am I confined in a singular society but simultaneously I am experiencing Zimbabwe and South Africa and the UK, in my mind. I'm in the UK, but I carry those places with me everywhere I go.' But the reason why we are speaking with Kudzanai-Violet today is because she is currently the subject of and featured in two of my favourite exhibitions up in London right now: the Hayward Gallery's painting show “Mixing it Up” and her solo exhibition, “when you need letters for your skin” at Victoria Miro Gallery, a show i found utterly spellbinding with its poignant, personal and raw paintings -- painting she describes as “visual letters”. https://www.victoria-miro.com/artists/240-kudzanai-violet-hwami/ https://www.gasworks.org.uk/exhibitions/kudzanai-violet-hwami-2019-09-19/ https://www.instagram.com/mwana.wevhu/?hl=en LISTEN NOW + ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Research assistant: Viva Ruggi Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Today on the podcast we have a wonderful conversation with Elinor Cleghorn, Author of  Unwell Women: Misdiagnosis and Myth in a Man-Made World. This book discusses the history of misdiagnosis and myth in women's health. Elin's story began 10 years ago when she was diagnosed with an autoimmune disease after a long period of being told her symptoms were anything from psychosomatic to a possible pregnancy. As Elinor learned to live with her unpredictable disease she turned to history for answers, and found an enraging legacy of suffering, mystification, and misdiagnosis. In her book, Elinor, traces the almost unbelievable history of how medicine has failed women by treating their bodies as alien and other, often to perilous effect. Elinor has a background in feminist culture and history, and her critical writing has been published in several academic journals, including Screen. After receiving her PhD in humanities and cultural studies in 2012, Elinor worked for three years as a postdoctoral researcher at the Ruskin School of Art at the University of Oxford on an interdisciplinary arts and medical humanities project. She has given talks and lectures at the British Film Institute, where she has been a regular contributor to the education program and she has appeared on the BBC Radio 4 discussion show: The Forum.  She now works as a freelance writer and researcher and lives in Sussex. We have the most incredible conversation on women's health, advocacy, and Elinor's own personal journey!  Click here to purchase the book: Unwell Women by Elinor Cleghorn You can also follow Elinor on Instagram: @elinorcleghorn To learn more about our health coaching subscription service visit: www.patreon.com/courageouswellness Don't forget to subscribe, rate, and review Courageous Wellness! We release new episodes each #WellnessWednesday! You can also follow us on instagram @CourageousWellness and visit our website: www.courageouswellness.net to get in touch.  This episode is brought to you by Milk+Honey.  To receive 15% off your purchase visit www.milkandhoney.com and use code: CWPODCAST (all one word) at checkout! Milk+Honey is a line of non-toxic, effective, and safe bath, body, and skincare products made in small batches in Austin, Texas. We are so excited to partner with Seed! You can save 15% on Seed Synbiotic by using code: courageous15 at checkout. Head to www.seed.com to learn more.  We are so happy to offer our listeners a discount with Recess! To save 15% on all beverages or subscriptions, you can use code "courageous" at checkout when you visit: https://takearecess.co/ We are so happy to offer our listeners 10% off on all Four Sigmatic superfood coffee and elixirs! For 10% off Four Sigmatic products visit https://foursigmatic.com/and use the code: courageous at checkout! Are you interested in becoming a health coach or furthering your nutrition education? We loved our program at the Institute for Integrative Nutrition and are happy to offer our listeners a discount on tuition! To receive up to $2000 off tuition (for payments in full and $1000 off tuition for payment plans) you can use our name Aly French or Erica Stein when you enroll. To learn more you can also take a Sample Class, check out the Curriculum Guide, or visit the application page to enroll.   

Emma Cousin was born in Yorkshire in the UK, in 1986 and is currently based in London. Recent solo exhibitions include ‘Introductions', White Cube (2021); Goldsmiths CCA, London (2020); Milton Keynes Art Centre, UK (2019); Lewisham Arthouse, London (2018); Edel Assanti, UK (2018); and Dolph Projects, London (2017). Recent group exhibitions include ‘She came to stay' Andrea Festa Fine Art, Italy; ‘Female Objectivity', Palazzo Te Matova, Italy; ‘Soft Bodies', Castlefield Gallery, Manchester, (2020); ‘Ridiculous' Elephant West, London (2020); Jerwood Arts exhibition ‘Survey' at Baltic Centre for Contemporary Art, Gateshead, The Bluecoat, Liverpool, and G39, Cardiff, UK (2019); and ‘Ultra', J Hammond Projects, London (2019). Her work is in the Zuzeum Museum Riga, The Samandi Art Foundation, Bangladesh, Aishti Foundation, Lebanon and Azman Museum, Malaysia. In Sept 2021 Emma will have a solo show with Niru Ratnam Gallery London across three spaces showing new drawings, paintings and video. Emma graduated from Ruskin School of Drawing and Fine Art, University of Oxford in 2007. She started her own project space, Bread and Jam in 2015-17, which she ran for 2 years in her home in Brockley. She was a participant at Skowhegan in 2018. She recently co-curated Un-stilled Life, an exhibition focusing on animations, across three galleries, Ron Mandos Gallery Amsterdam, Tintype Gallery London and the online platform Blinkvideo. In 2020 she established the podcast ‘Chats with artists in lockdown' which is now on its second series.

Learn more about the role of an associate director as Ethan interview Michael Myers! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/p3-theatre-company/support

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

Robert & Russell meet artist Shawanda Corbett, best known for her ceramics, paintings and performances. Shawanda is a recent recipient of The Turner Bursary which replaces the Turner Prize 2020, recognised for her significant contribution to contemporary art in the UK during the past 12 months. We discuss the themes within “Neighbourhood Garden”, her current debut solo exhibition at Corvi-Mora gallery in South London, studying at the Ruskin at Oxford University, her admiration for her tutor Lynette Yiadom-Boakye, the ceramics of Magdalene Odundo and her love of jazz music including Eric Dolphy, Charles Mingus, Alice Coltrane & John Coltrane. We discuss cyborg theory and growing up with a disability, the question of “what is a complete body?” and the influence of Bauhaus and Sci-Fi. We consider the importance of collaboration in creating her performances particularly with choreographers, notably her brother Albert Corbett and the role and vital energy of, and connection to, the audience. We discuss theatre and dance such as Pina Bausch and Katherine Dunham who kept dancing even when in a wheelchair later in her life. Finally we discuss family and her experiences growing up, her memories of childhood and her inspiring grandmother Mary Bells who was a big supporter and ally to the trans and gay community in New York during the AIDS crisis of the 1980s.Shawanda is pursuing a doctoral degree in Fine Art at the Ruskin School of Art and Wadham College, University of Oxford. "Her practice-led DPhil focuses on the relationship between differently-abled body and abled body as cyborgs. In replacing disability theory with cyborg theory, Corbett’s practice is challenging her to be the primary maker and performer in her conceptual practice. She applies prosthetic making and the transitional period for prosthetics to techniques in filmmaking, analogue photography, and live performances."Visit her current solo exhibition at Corvi-Mora, running until 31st July 2020. https://www.corvi-mora.com/Follow @Cyborg_Artist on Instagram and official website website https://www.shawandacorbett.com. You can also view images at her gallery too @CorviMora. For images of all artworks discussed in this episode visit @TalkArt. We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. Thank you for listening to Talk Art, we will be back very soon. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

Rebecca & Lee Ann are joined by Christine Kaplan & Angela Stern, founders of 'Before You Think Productions' and creator's of the play ‘Mama's Eggnog'. They discuss their early years working separately in writing and script supervision and share their motivation to join the Ruskin School of Acting. They share how the Meisner technique of acting helped to shape their human interactions with people and talk about collaborating on the play-turned-film, ‘Mama's Eggnog'- a film for anyone who has ever had a mother. Christine & Angela talk about the importance of women in film and share their funny but personal stories of life and loss. This heartfelt podcast is one that you don't want to miss! Say It Forward with Christine Kaplan & Angela Stern.

Working across everything from homeware and ceramics to paper products and wall art, Jo Ham is the mastermind behind minimal homeware brand, HAM. On the podcast this week, she joins us to reflect on her own career-related confusion after graduating from the Ruskin School of Fine Art. We hear the journey that took her from advertising to setting out on her own path and how she built a successful business after her perspective was altered by a particularly challenging period. ... This episode of Creative Lives was brought to you by Lecture in Progress. The guest was Laurie Avon, interviewed by Indi Davies and presented by Marianne Hanoun. The editor was Ivor Manly. Lecture in Progress is made possible with the support of a number of brand partners – they include G . F Smith, Google, Sky Creative Agency, Hoefler and Co., Colophon Foundry and The Paul Smith Foundation.

Tea Uglow is Creative Director at Google's Creative Labs and works in Sydney. Google Translate once translated her role as ‘experimental person in charge at Google' where she runs a small team at the intersection of digital technology, arts and culture working on innovative, global, creative and collaborative projects. In this episode of #PitchPodcast Pitch guest editor and cofounder of Utopia Nadya Powell interviews Tea. They talk about Tea's childhood obsession with drawing and how interactivity formed a key part of her art as a student at Oxford's Ruskin School. Tea discusses the importance of moving from being settled to being unsettled throughout your life and career; recounting a multifaceted career which includes her working in a bar, doing book art degree, learning how to code and freelancing at Google for a year and a half. We learn that following a wiggly path is sometimes the best thing to do, as when you do finally end up where you're supposed to be you're ready for it. Tea is a trans woman and talks about the project of inclusion and diversity, challenging cultures and the importance of allowing people to bring a perspective that is not in the room into the room. See acast.com/privacy for privacy and opt-out information.

Short presentation by Dr Jason Gaiger (Ruskin School) followed by discussion. This seminar launched the Languages of Criticism project which brings together experts in literature, film, visual art and music to pursue a comparative investigation of criticism’s practices, their intellectual basis, and the potential for re-grounding and enriching them. We used examples from a variety of art forms to initiate questions regarding the creative possibilities of criticism. Among those present were Céline Sabiron, Ben Morgan, Mohamed-Salah Omri, Emma Ben Ayoun, Bryony Skelton, James Bond, Kamile Vaupsaite, Ellen Jones, Giovanni Mezzano, Xiaofan Amy Li, G. Lawson Conquer, Mia Cuthbertson, Junting Huang, Rafe Hampson, Joseph Jenner, Gail Trimble, Scott Newman, Julia Bray, James Grant, Robert Chard, Simon Palfrey, Philippe Roussin, Laurent Châtel, Emily Troscianko, Natasha Ryan, Charlie Louth, David Bowe, Lucy Russell, Jane Hiddleston, Marie Isabel Matthews-Schlinzly, Anita Paz, Harriet Wragg, Benedict Morrison, Kate Leadbetter, Katerina Virvidaki, Sarah Leyla Puells A, Thomas Toles, Lianjiang Yu, Carole Bourne-Taylor Andrew Klevan, University Lecturer in Film Studies, played a clip from The Magnificent Ambersons, read out a passage of criticism about it, and then explained why he felt the passage of criticism had value, paying attention especially to its style. Matthew Reynolds, a lecturer in the English Faculty, explored the borderline between perception and invention in literary criticism, discussing in particular Keats’s ‘On First Looking into Chapman’s Homer’ and a passages by Ali Smith and William Empson. Jason Gaiger, Head of the Ruskin School of Drawing and Fine Art, conducted a thought experiment in which works from Tate Modern were given away to people to keep in their homes. He asked what role criticism can play when a work’s context and situation are more significant than its intrinsic qualities. Martyn Harry, composer and lecturer in the Music Faculty, explored how pieces of music can themselves function as works of criticism Discussion probed many of the arguments made in the talks and raised new points, such as the relation between criticism and translation, and between criticism and commentary, and the different practices that might be thought of as criticism in different cultures.

Short presentation by Dr Martyn Harry (Music) followed by discussion. This seminar launched the Languages of Criticism project which brings together experts in literature, film, visual art and music to pursue a comparative investigation of criticism’s practices, their intellectual basis, and the potential for re-grounding and enriching them. We used examples from a variety of art forms to initiate questions regarding the creative possibilities of criticism. Among those present were Céline Sabiron, Ben Morgan, Mohamed-Salah Omri, Emma Ben Ayoun, Bryony Skelton, James Bond, Kamile Vaupsaite, Ellen Jones, Giovanni Mezzano, Xiaofan Amy Li, G. Lawson Conquer, Mia Cuthbertson, Junting Huang, Rafe Hampson, Joseph Jenner, Gail Trimble, Scott Newman, Julia Bray, James Grant, Robert Chard, Simon Palfrey, Philippe Roussin, Laurent Châtel, Emily Troscianko, Natasha Ryan, Charlie Louth, David Bowe, Lucy Russell, Jane Hiddleston, Marie Isabel Matthews-Schlinzly, Anita Paz, Harriet Wragg, Benedict Morrison, Kate Leadbetter, Katerina Virvidaki, Sarah Leyla Puells A, Thomas Toles, Lianjiang Yu, Carole Bourne-Taylor Andrew Klevan, University Lecturer in Film Studies, played a clip from The Magnificent Ambersons, read out a passage of criticism about it, and then explained why he felt the passage of criticism had value, paying attention especially to its style. Matthew Reynolds, a lecturer in the English Faculty, explored the borderline between perception and invention in literary criticism, discussing in particular Keats’s ‘On First Looking into Chapman’s Homer’ and a passages by Ali Smith and William Empson. Jason Gaiger, Head of the Ruskin School of Drawing and Fine Art, conducted a thought experiment in which works from Tate Modern were given away to people to keep in their homes. He asked what role criticism can play when a work’s context and situation are more significant than its intrinsic qualities. Martyn Harry, composer and lecturer in the Music Faculty, explored how pieces of music can themselves function as works of criticism Discussion probed many of the arguments made in the talks and raised new points, such as the relation between criticism and translation, and between criticism and commentary, and the different practices that might be thought of as criticism in different cultures.

Short presentation by Andrew Klevan, followed by discussion. This seminar launched the Languages of Criticism project which brings together experts in literature, film, visual art and music to pursue a comparative investigation of criticism’s practices, their intellectual basis, and the potential for re-grounding and enriching them. We used examples from a variety of art forms to initiate questions regarding the creative possibilities of criticism. Among those present were Céline Sabiron, Ben Morgan, Mohamed-Salah Omri, Emma Ben Ayoun, Bryony Skelton, James Bond, Kamile Vaupsaite, Ellen Jones, Giovanni Mezzano, Xiaofan Amy Li, G. Lawson Conquer, Mia Cuthbertson, Junting Huang, Rafe Hampson, Joseph Jenner, Gail Trimble, Scott Newman, Julia Bray, James Grant, Robert Chard, Simon Palfrey, Philippe Roussin, Laurent Châtel, Emily Troscianko, Natasha Ryan, Charlie Louth, David Bowe, Lucy Russell, Jane Hiddleston, Marie Isabel Matthews-Schlinzly, Anita Paz, Harriet Wragg, Benedict Morrison, Kate Leadbetter, Katerina Virvidaki, Sarah Leyla Puells A, Thomas Toles, Lianjiang Yu, Carole Bourne-Taylor Andrew Klevan, University Lecturer in Film Studies, played a clip from The Magnificent Ambersons, read out a passage of criticism about it, and then explained why he felt the passage of criticism had value, paying attention especially to its style. Matthew Reynolds, a lecturer in the English Faculty, explored the borderline between perception and invention in literary criticism, discussing in particular Keats’s ‘On First Looking into Chapman’s Homer’ and a passages by Ali Smith and William Empson. Jason Gaiger, Head of the Ruskin School of Drawing and Fine Art, conducted a thought experiment in which works from Tate Modern were given away to people to keep in their homes. He asked what role criticism can play when a work’s context and situation are more significant than its intrinsic qualities. Martyn Harry, composer and lecturer in the Music Faculty, explored how pieces of music can themselves function as works of criticism Discussion probed many of the arguments made in the talks and raised new points, such as the relation between criticism and translation, and between criticism and commentary, and the different practices that might be thought of as criticism in different cultures.

A short talk from Anthony Gardener, Director of Graduate Studies at the Ruskin School of Art about the Graduate programme at the Ruskin.

How a contemporary photographer is addressing one of the conflict's most sensitive topics. To commemorate the centennial of the First World War, the Ruskin School of Drawing and Fine Art has commissioned the young British photographer Chloe Dewe Mathews to produce a new body of work, the outcomes of which will be the subject of a major exhibition and accompanying publication. In this interview Chloe discusses how her photographic collection is addressing one of the conflict's most sensitive topics - the execution of troops for cowardice or desertion.

How a contemporary photographer is addressing one of the conflict's most sensitive topics. To commemorate the centennial of the First World War, the Ruskin School of Drawing and Fine Art has commissioned the young British photographer Chloe Dewe Mathews to produce a new body of work, the outcomes of which will be the subject of a major exhibition and accompanying publication. In this interview Chloe discusses how her photographic collection is addressing one of the conflict's most sensitive topics - the execution of troops for cowardice or desertion.