Podcast appearances and mentions of Tate Britain

Delaine Le Bas works in a transdisciplinary way: she combines visual, performative and literary practices to create an artistic oeuvre that encompasses all areas of life. In her works she deals with many facets, political as well as private and emotional, which involve belonging to the Rom*nja people, their history and rich cultural heritage.Within her work, Delaine Le Bas transforms her surroundings into monumental immersive environments filled with painted fabrics, theatrical costumes and sculptures. Her art draws on the rich cultural history of the Roma people and mythologies, focusing on themes of death, loss and renewal.Le Bas reflects on her identity, grief and the intertwining of art and life as she says: 'My whole life is just one whole thing. I don't think it's divided off, really.... What I'm like and what I dress like, and then what I do. It's like one big piece of work.'English-Romani artist Delaine Le Bas lives and works across the UK and Europe. Born in 1965 in Worthing, she graduated from Central St Martin's and her work explores themes of nationhood, land, belonging, and gender through various media such as embroidery, painting, collage, sculpture, installation, and performance. Describing the intertwined nature of her identity and her work, Le Bas has stated “…as a Romani, my viewpoint has always been that of the outsider and this position of the 'other' is reflected in the materials and messages within my work. We live in a culture of mixed values and garbled messages. My works are crafted from the disregarded and disparate objects of the car boot sale and the charity shops."Le Bas has played a significant role in the building of a Roma/Traveller contemporary art movement and aesthetic. Her work has been featured in the 52nd and 58th Venice Biennales and the Gwangju Biennale in 2012. She co-curated the first Roma Biennale, 'Come out Now!', in Berlin in 2018. She was Delaine Le Bas was nominated for the 2024 Turner Prize, with an exhibition at Tate Britain, and is currently artist-in-residence at The White House, Dagenham; a contemporary and community art space operated by Create London. https://www.whitehouseart.org/delaine-le-basStranger in Silver Walking on Air by DELAINE LE BAS, is a new solo exhibition running until 27th September 2025, at The White House, Dagenham: https://createlondon.org/event/atchin-tan-by-delaine-le-bas/Step into an immersive exhibition that transforms The White House on the Becontree Estate into a dreamlike space of shifting, layered imagery with textile, sculptural objects, glasswork and interactive installations.From 31st May - 2nd August 2025, Newcastle Contemporary Art proudly presents +Fabricating My Own Myth – Red Threads & Silver Needles, a solo exhibition by artist Delaine Le Bas, who continues her exploration of linguistics, mythology, and Gypsy Roma Traveller narratives through the tactile power of textiles, language, and storytelling: https://www.visitnca.com/exhibitions/delaine-le-basFollow @DeDeLeBasVisit: https://www.delainelebas.com Hosted on Acast. See acast.com/privacy for more information.

Ed Atkins talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Atkins, born in Oxford, UK, in 1982, is best known for exploring the strange but endlessly rich space between the digital world and human experience and emotion. He has taken an unorthodox approach to software and hardware, “misusing” them, as he puts it, to produce videos and animations that reflect on technologies critically and poetically, testing their relationship with the messy world of physicality and feeling. A crucial factor in achieving this is his work in writing and drawing, which offers a counterweight to the digital textures of the video installations. Atkins himself is ever-present in the multiple manifestations of his practice, physically and emotionally, and the result is a body of work that, for all its deliberate complexities and confusions, has a profound core of tenderness. He reflects on the transformative experience of encountering the Czechian artist Jan Švankmajer's animated films on television, the emotional impact of Velázquez's Las Meninas, his collaborations with the Swiss composer and clarinettist Jürg Frey, and his ongoing engagement with the US literary critic Leo Bersani. Plus, he discusses life in the studio and answers our usual questions, including the ultimate: what is art for?Ed Atkins, Tate Britain, London, until 25 August; Ed Atkins, Flower, Fitzcarraldo Editions, published on 10 April, £12.99 (pb). Hosted on Acast. See acast.com/privacy for more information.

Amy Hale is an Atlanta based writer and critic with a PhD in Folklore and Mythology from UCLA. Her research interests include contemporary magical practice and history, art, culture, women and Cornwall. She has written widely on artist and occultist Ithell Colquhoun, and has been an academic advisor to the 2025 Colquhoun retrospective Ithell Colquhoun: Between Worlds at Tate St. Ives and Tate Britain. She wrote the first scholarly biography of Colquhoun, Ithell Colquhoun Genius of the Fern Loved Gulley followed by the collection Sex Magic: Diagrams of Love, (Tate Publishing, 2024).Her book, Beyond the Supernatural: Magic in Contemporary Art is due to be published with Tate Publishing in 2026.Amy's WebsiteInstagramTreadwell's Lecture Series – here and hereIthell Colquhoun (1906 –1988) "One of the most radical artists of her generation, Ithell Colquhoun was an important figure in British Surrealism during the 1930s and 1940s. An innovative writer and practicing occultist, Colquhoun charted her own course, investigating surrealist methods of unconscious picture-making and fearlessly delving into the realms of myth and magic. She explored the possibilities of a divine feminine power as a path to personal fulfilment and societal transformation. Her understanding of the world as a connected spiritual cosmos brought her to Cornwall, where she deepened her creative explorations, inspired by the region's ancient landscape, Celtic traditions, and sacred sites."From Ocula.com Guardian article on Ithell We talked about:Some of Ithell's most iconic paintings and where she fits in the story of art Surrealism and the lack of women Fascinating developments in automatism and understandings of the subconscious Colour theory and magic, from the Golden Dawn, anthroposophy and theosophy Being an outsider...her relationship to occult and artist groups Sex magic Artists who don't receive recognition in their lifetimes In the extended episode: The Kabbalistic tree of life, The Golden Dawn and their influence on Ithell's colour theory and palette Crowley's table of correspondences Colour mixing The story of Amy's Sex Magic contract with the Tate Extended AND video episodes available at www.patreon.com/lucyhpearce Hosted on Acast. See acast.com/privacy for more information.

Morse code transcription: vvv vvv Newspaper headlines Hundreds feared dead in quake and Reeves likened to Truss Lower Thames Crossing The people affected by Essex to Kent road British man praised for tackling Amsterdam knife attack suspect Justin Welby tells BBC abuse in Church was overwhelming Isolated and confused How a granddad vanished from his family Has Just Stop Oil really stopped throwing soup Tate Britain to return painting looted by Nazis Vance scolds Denmark during Greenland trip Alex Warren was homeless and sleeping in friends cars now hes number one American car buyers against Trumps auto tariff deadline

Morse code transcription: vvv vvv Justin Welby tells BBC abuse in Church was overwhelming British man praised for tackling Amsterdam knife attack suspect Isolated and confused How a granddad vanished from his family American car buyers against Trumps auto tariff deadline Has Just Stop Oil really stopped throwing soup Vance scolds Denmark during Greenland trip Alex Warren was homeless and sleeping in friends cars now hes number one Lower Thames Crossing The people affected by Essex to Kent road Newspaper headlines Hundreds feared dead in quake and Reeves likened to Truss Tate Britain to return painting looted by Nazis

Morse code transcription: vvv vvv Has Just Stop Oil really stopped throwing soup Vance scolds Denmark during Greenland trip Justin Welby tells BBC abuse in Church was overwhelming Alex Warren was homeless and sleeping in friends cars now hes number one Tate Britain to return painting looted by Nazis American car buyers against Trumps auto tariff deadline Isolated and confused How a granddad vanished from his family Newspaper headlines Hundreds feared dead in quake and Reeves likened to Truss Lower Thames Crossing The people affected by Essex to Kent road British man praised for tackling Amsterdam knife attack suspect

Morse code transcription: vvv vvv Alex Warren was homeless and sleeping in friends cars now hes number one British man praised for tackling Amsterdam knife attack suspect Lower Thames Crossing The people affected by Essex to Kent road American car buyers against Trumps auto tariff deadline Tate Britain to return painting looted by Nazis Has Just Stop Oil really stopped throwing soup Justin Welby tells BBC abuse in Church was overwhelming Newspaper headlines Hundreds feared dead in quake and Reeves likened to Truss Vance scolds Denmark during Greenland trip Isolated and confused How a granddad vanished from his family

Last night saw the fifth night of fierce protests across Turkey, after the main rival politician to the country's President Erdogan, was formally arrested and charged with corruption, having been detained on Wednesday. Ekrem Imamoglu, the mayor of Istanbul, has been declared as the CHP - the Republican People's Party's 2028 presidential nominee - in the last few hours. Women are being seen on the streets in their thousands and Imamoglu's wife, Dilek Kaya Imamoglu, addressed crowds outside of the Istanbul city hall yesterday. Clare McDonnell discusses the situation with the BBC's Emily Wither and Feride Eralp, a feminist activist in Turkey.Since its release, the Netflix TV series Adolescence has caused widespread discussion about what's shaping our teenagers' lives. The four-part series follows the fallout from 13-year-old Jamie's arrest on suspicion of murdering his female classmate, Katie. The show is a critique of social media-boosted toxic masculinity and its role in the teenage experience. Clare discusses the issues with clinical psychologist, Dr Amani Milligan and Consultant Forensic Psychologist, Dr Ruth Tully.The National Crime Agency has launched a month-long social media campaign to combat the threat posed to teenage boys (15-17 years old) by financially motivated sexual extortion or ‘sextortion'. Marie Smith from the National Crime Agency (NCA) and Emma Hardy from Internet Watch Foundation (IWF) explain why this campaign is so urgent. Women in Revolt! Art and Activism in the UK 1970-1990 is a landmark exhibition currently on at the Whitworth in Manchester featuring more than 90 women artists and collectives whose ideas helped fuel the women's liberation movement during a period of significant social, economic and political change. Clare is joined by Linsey Young, independent curator and researcher who curated the exhibition when she worked at Tate Britain, and Amrita Dhallu, also herself a curator.Presented by Clare McDonnell Producer: Louise Corley

Amy Hale is an Atlanta based writer and critic with a PhD in Folklore and Mythology from UCLA (1998). Her research interests include contemporary magical practice and history, art, culture, women and Cornwall. She has written widely on artist and occultist Ithell Colquhoun, and has been an academic advisor to the 2025 Colquhoun retrospective at Tate St. Ives and Tate Britain. She wrote the first scholarly biography of Colquhoun, Ithell Colquhoun: Genius of the Fern Loved Gully (Strange Attractor, 2020) followed by the collection Sex Magic: Diagrams of Love, (Tate Publishing, 2024), and A Walking Flame: Selected Magical Essays of Ithell Colquhoun (Strange Attractor 2025).  She is also the editor of the groundbreaking collection Essays on Women in Western Esotericism: Beyond Seeresses and Sea Priestesses (Palgrave 2022). She has written extensively on magic and contemporary art, and has written for Tate, Burlington Contemporary, Art UK, The Australian Centre for Contemporary Art, Correspondences Journal and other institutions.She is an Honorary Research Fellow with Falmouth University in Cornwall, a trustee of the UK Charity Rediscovering Art by Women (RAW) and a member of the British Art Network. Beyond the Supernatural: Magic in Contemporary Art is due to be published with Tate Publishing in 2026.In this discussion, Amy shares the inspiration for the upcoming 10-part series, “Magic in Contemporary Art,” in collaboration with Treadwells Bookstore  and the Museum of Witchcraft and Magic, beginning on March 30th, 2025. The current interest in magic and art is not a fad, as Amy explains. She gives us a sneak peek of the first four sessions, that cover topics such as “ecofeminist art,” the influence of Hermetic magic on art, and philosophical feminism as found in the works of Donna Haraway and Karen Barad. Amy then talks in more detail about her inspiration with the work surrounding the artist Ithell Colquhoun, including the current exhibition at the Tate St. Ives Museum in Cornwall, as well as her own writings on the life and work of Colquhoun. This was a wonderful opportunity for me to learn more about this amazing woman, and I hope you enjoy the interview! PROGRAM NOTESLinktree:        https://linktr.ee/amyhale93?utm_source=linktree_profile_share<sid=d4c380a2-24b1-4488-af02-5eb31ced3e86         Amy Hale   https://www.instagram.com/amyhale93/     Chasing the Supersensual | Amy Hale | SubstackMagic in Contemporary Art, Ep. 1 – Lecture & Discussion | TreadwellsHome - Museum of Witchcraft and MagicBlogs - RAWIthell Colquhoun | Strange AttractorSex Magic – Abrams BooksTheme Music and Editing: Daniel P. SheaEnd Production: Stephanie SheaNote: The full episode can be found at my Patreon page, www.patreon.com/RejectedReligion, and can also be purchased for a one-time fee.                                                                                                                                                                                                               

Artists Himali Singh Soin and David Soin Tappeser explore the complex weave of histories and myths around Britain's imperial salt monopoly in India. Paul Waters joins them as they create an open-air installation at the Somerset House gallery in London, paired with a poignant indoor exhibition occupying spaces formerly used to administer Britain's colonial-era salt tax. The 80 metre long fabric installation is to replicate the Inland Customs Line, a monumental 2,500 mile long hedge across India, created by Britain in the 1800s, to enforce salt taxation. This reinterpretation draws on cotton printed with botanical dyes from the hedge's original plants, to highlight the human and ecological cost of colonial extraction. Himali and David aren't just creating one exhibition in one location. They are also creating a parallel installation further along the river Thames, at the Tate Britain art gallery and we'll be following them as they work across both sites.

In 1501, Lucrezia Borgia—daughter of the infamous Pope Alexander VI—briefly ruled the Vatican in his absence, a moment as shocking then as it is now. But how did she gain this rare position of power? And how does Frank Cadogan Cowper's striking Pre-Raphaelite painting mirror our cultural perception of her? Unravel the myths surrounding Lucrezia Borgia, explore the evolution of women's roles in the Catholic Church, and examine how history, scandal, and art collide in depicting one of the Renaissance's most enigmatic women. Today's Image: Frank Cadogan Cowper, 'Lucretia Borgia Reigns in the Vatican in the Absence of Pope Alexander VI' (c. 1910). Oil on canvas. Tate Britain, London. ______ New episodes every month. Let's keep in touch! Email: artofhistorypod@gmail.com Instagram: @artofhistorypodcast | @matta_of_fact

Lauren and Becky Malinsky dial in from London, right after Burberry's show at the Tate Britain. They discuss the future of that brand (with or without designer Daniel Lee), the future of London Fashion Week, shopping in London, and the tenor of its street style versus New York, Los Angeles, and Paris. They also interrogate what's happening as Saks Global (owner of Saks Fifth Avenue, Neiman Marcus, and Bergdorf Goodman) battles with its brands regarding late payments and how it may affect the customer experience. Finally, they get into the why behind the launch of Nike Skims. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Jessa Fairbrother (b. London) is a British visual artist whose work spans stitch, photography, performance and drawing. The body is her main material. She holds an MA in Photographic Studies from the University of Westminster (2010) and trained at drama school in London in the 1990s.  This laid the groundwork for her ongoing investigation of how art and audience collide. The artist book of her work Conversations with my mother, is held in collections at Tate Britain, the V&A, London and The Museum of Fine Art, Houston.  Yale Centre for British Art and Bristol Museum and Art Gallery also hold pieces from this series. Her companion piece, Role Play (Woman with Cushion) is included in Acts of Creation: On Art and Motherhood – a Hayward Touring exhibition travelling the UK throughout 2024-2025 and included in the 2024 Thames and Hudson book of the same name by curator of the show, Hettie Judah. She is a Queen Elizabeth Scholarship Trust scholar, training at the Royal School of Needlework in historical hand embroidery, which she incorporates into her photographic work. This is now embedded in her long-term multi-faceted project A Fencing Manual for Women, which has also been supported in it's development by a DYCP grant from the Arts Council of England, The Oppenheim-John Downes Memorial Trust, Hosking Houses Trust, Gane Trust and GRAIN as well as private sponsors. Jessa became an RWA Academician in 2023. She works from her studio in Bristol, UK.   Jessa's official website. https://jessafairbrother.com/ Follow Jessa on Instagram. https://www.instagram.com/jessfairbrother/ Tate Papers: Severance: Jessa Fairbrother's Conversations with My Mother 2016 - Jennifer Mundy https://www.tate.org.uk/research/tate-papers/33/severance-jessa-fairbrother-conversations-my-mother   Michael Dooney https://beacons.ai/michaeldooney   This episode of Subtext & Discourse Art World Podcast was recorded on 27. October 2024 between Perth (AU) and Bristol (UK). Portrait of Jessa Fairbrother by Trish Morrissey in the Acts of Creation: On Art and Motherhood exhibition at MAC in Birmingham.

Peter Hujar, Gregg Bordowitz and Rotimi Fani-Kayode are three artists whose work reflects in different ways on the Aids crisis that has devastated communities across the world since the 1980s. Hujar, who died from Aids-related pneumonia in 1987, is the subject of a new show at Raven Row in London, the largest to date at a UK gallery. Host Ben Luke takes a tour of the show with its curators, the writer John Douglas Millar, and the artist, master printer and model for some of Hujar's photographs, Gary Schneider. The artist Gregg Bordowitz was a member of The Aids Coalition to Unleash Power, or ACT UP, founded in New York in the 1980s. Bordowitz has lived with HIV since the late 1980s, and it has fuelled his art and activism ever since, as a new show at Camden Art Centre in London demonstrates. We spoke to him about his life and work. And this episode's Work of the Week is Rotimi Fani-Kayode's Abiku (Born to Die) (1988), a photograph in The 80s: Photographing Britain, a show at Tate Britain in London. Fani-Kayode was a key figure in the UK's burgeoning avant-garde photography scene in the late 1980s, but died in his early 30s in 1989 from complications relating to Aids. We talk to Jasmine Kaur Chohan, co-curator of the Tate Britain show, about the work.Peter Hujar—Eyes Open in the Dark, Raven Row, London, 30 January-6 AprilGregg Bordowitz—There: a Feeling, Camden Art Centre, London, until 23 MarchThe 80s: Photographing Britain, Tate Britain, until 5 MayThe Art Newspaper's book The Year Ahead 2025, an authoritative guide to the year's unmissable art exhibitions, museum openings and significant art events, is still available to buy at theartnewspaper.com for £14.99 or the equivalent in your currency. Buy it here. Hosted on Acast. See acast.com/privacy for more information.

A 2025 preview: Georgina Adam, our editor-at-large, tells host Ben Luke what might lie ahead for the market. And Ben is joined by Jane Morris, editor-at-large, and Gareth Harris, chief contributing editor, to select the big museum openings, biennials and exhibitions.All shows discussed are in The Art Newspaper's The Year Ahead 2025, priced £14.99 or the equivalent in your currency. Buy it here.Exhibitions: Site Santa Fe International, Santa Fe, US, 28 Jun-13 Jan 2026; Liverpool Biennial, 7 Jun-14 Sep; Folkestone Triennial, 19 Jul-19 Oct; Ruth Asawa: A Retrospective, San Francisco Museum of Modern Art, 5 Apr-2 Sep; Museum of Modern Art (MoMA), New York, 19 Oct-7 Feb 2026; Gabriele Münter, Guggenheim Museum, New York, 7 Nov-26 Apr 2026; Musée d'Art Moderne de Paris, 4 Apr-24 Aug; Elizabeth Catlett: a Black Revolutionary Artist, Brooklyn Museum, New York, until 19 Jan; National Gallery of Art (NGA), Washington DC, 9 Mar-6 Jul; Art Institute of Chicago, US, 30 Aug-4 Jan 2026; Ithell Colquhoun, Tate Britain, London, 13 Jun-19 Oct; Abstract Erotic: Louise Bourgeois, Eva Hesse, Alice Adams, Courtauld Gallery, London, 20 Jun-14 Sep; Michaelina Wautier, Kunsthistorisches Museum, Vienna, 30 Sep-25 Jan 2026; Radical! Women Artists and Modernism, Belvedere, Vienna, 18 Jun-12 Oct; Dangerously Modern: Australian Women Artists in Europe, Art Gallery of South Australia, Adelaide, 24 May-7 Sep; Art Gallery of New South Wales, Sydney, 11 Oct-1 Feb 2026; Lorna Simpson: Source Notes, Metropolitan Museum of Art, New York, 19 May-2 Nov; Amy Sherald: American Sublime, SFMOMA, to 9 Mar; Whitney Museum of American Art, New York, 9 Apr-Aug; National Portrait Gallery, Washington DC, 19 Sep-22 Feb 2026; Shahzia Sikander: Collective Behavior, Cincinnati Art Museum, 14 Feb-4 May; Cleveland Museum of Art, US, 14 Feb-8 Jun; Cantor Arts Center, Stanford, US, 1 Oct-25 Jan 2026; Jenny Saville: The Anatomy of Painting, National Portrait Gallery, London, 20 Jun-7 Sep; Linder: Danger Came Smiling, Hayward Gallery, London, 11 Feb-5 May; Arpita Singh, Serpentine Galleries, London, 13 Mar-27 Jul; Vija Celmins, Beyeler Collection, Basel, 15 Jun-21 Sep; An Indigenous Present, ICA/Boston, US, 9 Oct-8 Mar 2026; The Stars We Do Not See, NGA, Washington, DC, 18 Oct-1 Mar 2026; Duane Linklater, Dia Chelsea, 12 Sep-24 Jan 2026; Camden Art Centre, London, 4 Jul-21 Sep; Vienna Secession, 29 Nov-22 Feb 2026; Emily Kam Kngwarray, Tate Modern, London, 10 Jul-13 Jan 2026; Archie Moore, Queensland Gallery of Modern Art, 30 Aug-23 Aug 2026; Histories of Ecology, MASP, Sao Paulo, 5 Sep-1 Feb 2026; Jack Whitten, Museum of Modern Art, New York, 23 Mar-2 Aug; Wifredo Lam, Museum of Modern Art, Rashid Johnson, Solomon R. Guggenheim Museum, New York, 18 Apr-18 Jan 2026; Adam Pendleton, Hirshhorn Museum and Sculpture Garden, Washington DC, 4 Apr-3 Jan 2027; Marie Antoinette Style, Victoria and Albert Museum, London, 20 Sep-22 Mar 2026; Leigh Bowery!, Tate Modern, 27 Feb- 31 Aug; Blitz: the Club That Shaped the 80s, Design Museum, London, 19 Sep-29 Mar 2026; Do Ho Suh, Tate Modern, 1 May-26 Oct; Picasso: the Three Dancers, Tate Modern, 25 Sep-1 Apr 2026; Ed Atkins, Tate Britain, London, 2 Apr-25 Aug; Turner and Constable, Tate Britain, 27 Nov-12 Apr 2026; British Museum: Hiroshige, 1 May-7 Sep; Watteau and Circle, 15 May-14 Sep; Ancient India, 22 May-12 Oct; Kerry James Marshall, Royal Academy of Arts, London, 20 Sep-18 Jan 2026; Kiefer/Van Gogh, Royal Academy, 28 Jun-26 Oct; Anselm Kiefer, Ashmolean Museum, Oxford, 14 Feb-15 Jun; Anselm Kiefer, Van Gogh Museum, Stedelijk Museum, Amsterdam, 7 Mar-9 Jun; Cimabue, Louvre, Paris, 22 Jan-12 May; Black Paris, Centre Pompidou, Paris, 19 Mar-30 Jun; Machine Love, Mori Art Museum, Tokyo, 13 Feb-8 Jun Hosted on Acast. See acast.com/privacy for more information.

Stance visits London to explore the Tate Gallery show The 80s: Photographing Britain with campaigner Marc Thompson. The exhibition examines how photographers used the camera to respond to the seismic social, political, and economic shifts of the era, including the rise of Thatcherism, race uprisings, and the AIDS epidemic. It highlights photography as a vital tool for social representation, cultural celebration, and artistic experimentation, spanning landscapes, self-portraiture, and social documentary during this pivotal and highly creative period. Marc Thompson, a Brixton-born cultural leader and prominent British campaigner with over three decades of experience in HIV activism and education, joins Chrystal for a tour of Tate Britain. Together, they engage with the works of photographers such as Ajamu X and Rotimi Fani-Kayode, discussing the legacy of Black queer voices in shaping modern Britain, the cultural significance of Brixton as a hub for activism, creativity and nightclubs, and the ongoing fight for healthcare equity faced by marginalized communities today. If you like what you heard, please write us a review and check out more of our work at stancepodcast.com and all podcasting apps @stancepodcast This podcast was produced by Etay Zwick. Referenced In This Podcast & Show Notes Mark Thompson Linktree Marc Thompson IG London HIV Prevention Resident Survey Black & Gay Back InBlack & Gay Back In The Day IGThe Day Black & Gay Back In The Day Podcast Lost Spaces Podcast - Queer Nation (with Marc Thompson)  PrEPster Love Tank Black Health Matters Do It London - HIV Prevention Interview with Marc Thompson in London Friend  Article about Marc Thompson in The Voice We Were Always Here Podcast hosted by Marc Thompson Tate Britian The 80s: Photographing Britain at the Tate Artists include: Online Gallery of Rotimi Fani-Kayode's Photography Black British Artists 1980s Archive Pogus Caesar  Martin Parr's Ajamu X's website Dave Lewis's website  Susanne Roden Anna Fox's website Derek Bishton's website Jason Evans website  Reflections of the Black Experience: Brixton Art Gallery, 1986. PV Card, Poster, Catalogue, Time Out, Echoes & LAM Reviews A Review of an exhibition of Rotimi Fani-Kayode's work  

Welcome to this highly-cultured, special, sponsored episode. Jane and Fi get to skip the hoi polloi and walk around Tate Britain before it opens, accompanied by The Times' chief art critic, Laura Freeman. They talk stockings, sculptures, and self-portraits. They also speak to Dr. Tony Woods to learn more about the health benefits of engaging with art. This episode is in partnership with National Art Pass. To find out more about the National Art Pass and gain access to hundreds of free and half price exhibitions & galleries visit www.artfund.org/OffAir If you want to contact the show to ask a question and get involved in the conversation then please email us: janeandfi@times.radioFollow us on Instagram! @janeandfiPodcast Producer: Eve SalusburyExecutive Producer: Rosie Cutler Hosted on Acast. See acast.com/privacy for more information.

Curator Jo-Lene Ong walks through historic marketplaces across Taiwan, Paris, Devon, London, and Manchester, exchanging island mentality for more archipelagic thinking, via Steph Huang's sculptural installation, I Am in a Pretty Pickle (2024). Through works combining sculpture, sound, and film, contemporary artist Steph Huang explores mass production, consumption, and waste. She often focusses on the transcultural and historical dimensions of food industries, and the implications of such markets on our natural environment. Roaming the street markets of cities in Taiwan, where she was born, and London, where she lives and works, she also draws from their vernacular architectures, and different local cultures. Steph's first exhibition at Tate Britain in London sits near the river Thames, a boat ride away from Billingsgate, the UK's largest inland fish market; and in Manchester, at its historic Market Buildings, once part of the Victorian Smithfield Fish Market. Curator Jo-Lene Ong connects sculptural works like I Am in a Pretty Pickle (2024), with the Situationist International's practice of the dérive, repurposing objects collected through exploration. We situate her interest in wonder and playful approach to media with the likes of Haegue Yang, currently on view at the Hayward Gallery in London, and Rasheed Araeen, entwining the roles of cook and artist. We look at the traces of maritime trades and food industries on our everyday lives, and our relationship with ocean ecosystems, highlighting the legacies of colonialism in contemporary capitalism and climate crises. From esea contemporary's previous exhibitions of artists like Jane Jin Kaisen, Jo-Lene moves towards her particular interest in transmission, and more ‘watery ways of being' beyond borders, referencing Astrida Neimanis' hydrofeminism (2017) and looking to Sharjah Biennale 16 in 2025. We discuss ‘island travel' and ‘archipelagic thinking' as central to Steph's artistic, and Jo-Lene's curatorial, practices. Jo-Lene shares how her relationship with identity has been shaped by working in different contexts, from Malaysia, to Amsterdam, and the UK. We discuss the relative in/visibility of East and Southeast Asian (ESEA) identities in these different places - histories of Indonesia and the Dutch East Indies, and Malaysia, a British colony between the 1820s and 1957 - as well as the overlaps between Hokkein and Taiwanese languages, as variants or dialects of Chinese. Steph Huang: There is nothing old under the sun runs at esea contemporary in Manchester until 8 December 2024. The exhibition is part of the Mark Tanner Sculpture Award (MTSA)'s National Touring Programme, first exhibited at Standpoint in London in 2024. The exhibition will tour to Cross Lane Projects in Kendal in March 2025. An exhibition book of the same number launches at esea contemporary on 30 November 2024. Art Now: Steph Huang: See, See, Sea runs at Tate Britain in London until 5 January 2025. For more about archipelagos and Édouard Glissant, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, and artist ⁠Billy Gerard Frank on Palimpsest: Tales Spun From Sea And Memories (2019)⁠, part of ⁠PEACE FREQUENCIES 2023⁠: ⁠instagram.com/p/C0mAnSuodAZ⁠ For more from esea contemporary, hear Musquiqui Chihying, a recent artist-in-residence, on Too Loud a Dust (2023) at Tabula Rasa Gallery during London Gallery Weekend in 2023: pod.link/1533637675/episode/29b9e85442a30e487d8a7905356541dd PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

The exhibition ‘The 80s: Photographing Britain' at Tate Britain is a landmark survey looking at the decade as a pivotal moment for the medium of photography. The exhibition brings together nearly 350 images and archive materials from the period, exploring how photographers used the camera to respond to the seismic social, political and economic shifts around them. Through their lenses the show considers how the medium became a tool for social representation, cultural celebration and artistic expression throughout this significant and highly creative period for photography. During the Press View of ‘The 80s: Photographing Britain' on Tuesday 19 November 2024 RNIB Connect Radio's Toby Davey sat down with Assistant Curator of the exhibition Jasmine Chohan to find out a bit more about the exhibition, the use of photography during the 80s to document changes that were happening in Britain during this decade and how people were responding to the changes too. The exhibition ‘The 80s: Photographing Britain' continues at Tate Britain until 5 MAY 2025. Audio described tours of the exhibition with one of Tate's Visitor Engagement Assistants can be booked in advance by either emailing hello@tate.org.uk or calling 020 7887 8888.   More details about ‘the 80s:  Photographing Britain' can be found on the following pages of the Tate website - https://www.tate.org.uk/whats-on/tate-britain/the-80s-photographing-britain Image shows 'Joy Gregory, Magenta dress with pink tulips 1985', a figure in a magenta pink dress facing away from the camera, holding a tulip in one hand over their head and leaning with the other hand on a table with a green cloth over it with a vase of tulips on top.

Hoppen, Franziska www.deutschlandfunkkultur.de, Studio 9

In this History of Western Prints (HoP) episode, Tru and I begin to explore the life and work of William Hogarth, the first British artist featured on Platemark's HoP series. Hogarth, renowned as the father of Western sequential art, is discussed through detailed analyses of three of his best known series: A Harlot's Progress, A Rake's Progress, and Marriage A-la-Mode. The episode delves into 18th-century London's morality, capturing the societal and artistic context of Hogarth's work. Highlights include discussions on the intricacies of Hogarth's prints, his depiction of social issues, the impact of his work on English law (copyright laws finally established!), and his mixed successes in various art forms. This first of two episodes on Hogarth sets the stage for part two when we look at his images around elections in Enlightenment England. Harlot's Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ  Harlot's Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF  Beer Street and Gin Lane video from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook   After Anton von Maron (Austrian, 1733–1808). Johann Winkelmann, after 1768. Engraving. After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection. William Hogarth (British, 1697–1764). The Painter and his Pug, 1745. Oil on canvas. 35.4 x 27.5 cm. Tate Britain, London. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 × 38.5 cm. (19.5 in × 15.2 in.). Louvre, Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. Louvre, Paris. The Banqueting House, London. Saint Paul's Church, London. William Hogarth (British, 1697–1764). Self-Portrait, c. 1735. Oil on canvas. 21 1/2 x 20 in. (54.6 x 50.8 cm.). Yale Center for British Art, New Haven. William Hogarth (British, 1697–1764). An Emblematic Print on the South Sea, late 18th century. Engraving and Etching. Plate: 10 13/16 x 13 3/8 in. (27.4 x 33.9 cm.); sheet: 11 5/16 x 14 in. (28.7 x 35.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 1, 1732 or before. Etching and engraving. Sheet: 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. Chart identifying elements in Harlot's Progress Plate 1. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 2, 1732 or before. Etching and engraving. Sheet: 12 3/8 x 14 13/16 in. (31.4 x 37.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 3, 1732 or before. Etching and engraving. Sheet: 12 11/16 x 15 3/8 in. (32.2 x 39 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 4, 1732 or before. Etching and engraving. Sheet: 13 1/8 x 15 3/16 in. (33.3 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 5, 1732 or before. Etching and engraving. Sheet: 13 3/8 x 16 3/16 in. (34 x 41.1 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 6, 1732 or before. Etching and engraving. Sheet: 12 1/2 x 15 3/16 in. (31.7 x 38.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 1, 1735. Etching and engraving. Sheet: 15 13/16 x 19 1/16 in. (40.2 x 48.4 cm.). Metropolitan Museum of Art, New York. Gérard Jean-Baptiste Scotin (French, Paris 1698–after 1755), after William Hogarth (British, 1697–1764). A Rake's Progress, Plate 2, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 3, 1735. Etching and engraving. Sheet: 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 4, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36.1 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 5, 1735. Etching and engraving. Sheet: 15 5/8 x 18 13/16 in. (39.7 x 47.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 6, 1735. Etching and engraving. Sheet: 14 x 16 in. (35.5 x 40.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 7, 1735. Etching and engraving. Sheet: 15 5/8 x 18 3/4 in. (39.7 x 47.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 8, 1735. Etching and engraving. Sheet: 15 9/16 x 18 13/16 in. (39.6 x 47.8 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Eight oil on canvas paintings. Sir John Soane's Museum, London. Louis-François Roubiliac (French, 1702–1762). William Hogarth, c. 1741. Terracotta bust. Overall: 28 1/2 x 17 3/4 in. (72.4 x 45.2 cm.). National Portrait Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 1, The Marriage Settlement, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 2, The Tête-à-Tête, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 3, The Inspection, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 4, The Toilette, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 5, The Bagnio, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 6, The Lady's Death, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. Gérard Jean-Baptiste Scotin (French, 1698–after 1755), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 1, 1745. Etching and engraving. Sheet: 15 3/16 x 18 5/16 in. (38.5 x 46.5 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 2, 1745. Etching and engraving. Sheet: 15 1/16 x 18 1/4 in. (38.3 x 46.3 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 3, 1745. Etching and engraving. Plate: 15 3/8 x 18 1/2 in. (39 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 4, 1745. Etching and engraving. Plate: 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 5, 1745. Etching and engraving. Plate: 15 1/4 x 18 7/16 in. (38.8 x 46.9 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 6, 1745. Engraving. Plate: 15 3/16 x 18 3/8 in. (38.6 x 46.7 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.

a text for Jasleen Kaur's Turner Prize installation (Alter Altar) at the Tate Britain. read the text here: thewhitepube.co.uk/alter-altar ica tickets for 5th Nov: ica.art/learning/poor-artists

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

We learn more about the history and traditions surrounding zombies at the Quai Branly museum in Paris, as our reporters take a tour of a new exhibition there. Contemporary art from Benin is in the spotlight at the Conciergerie in Paris, as dozens of creatives from the West African country show pieces as part of the Festival de Francophonie. Plus we check out work from artists shortlisted for the UK's most prestigious award, the Turner Prize, as Tate Britain hosts an exhibition which explores decolonisation, culture and identity.

New Talk Art special episode!!!! We meet leading artist Alvaro Barrington, presented by BMW.We explore his work since we last met him on the podcast a few years ago, his current, epic solo 'Grace' at Tate Britain's Duveen Galleries, as well as a very cool recent collaboration with BMW at Frieze Seoul. Inspired by the BMW Art Car Collection and curated by Hans Ulrich Obrist, the artist has paint over seven miniature i7s, drawing inspiration from video games and music.Barrington's practice explores interconnected histories of cultural production. Considering himself primarily a painter, Barrington's multimedia approach to image-making employs burlap, textiles, postcards and clothing, exploring how materials themselves can function as visual tools while referencing their personal, political and commercial histories. Barrington is interested in how the vehicles of the future will have the potential to recognise our moods, emotions and schedules, and as such adapt to them accordingly. The artist explores the future of cars reimagined as self-driving entertainment units and places for meeting that can help bridge different cultures through new technologies such as instant language translation. Utilising artificial intelligence, cars will go far beyond their purely transporting function and instead help us foster new connections and fulfil our daily needs.For this project, Barrington looked into video games centered around cars, which were not only important as play and entertainment, but also as platforms for music and culture. Exploring the history of cars and other vehicles that enable travel and movement, the artist has focused on the intersection of cars and culture and the way they have influenced one another. Merging these references, the artist created 7 unique cars, each featuring a drawing from a film, music video or portraying a cultural figure, which remain influential in Barrington's life and practice.For his Tate Britain commission, Barrington's personal exploration of identity and belonging is a journey in three parts honouring his grandmother, sister and mother.He draws from personal memories across time and place, from his grandmother's Caribbean home where a thunderstorm hammers on the corrugated tin roof, to the exhilarating energy of Carnival. Tate Britain's Duveen Galleries are transformed into a space alive with sound, colour and texture.This is Barrington's poignant celebration of the people and places that make us feel we belong.'GRACE is the constant reimagining of Black culture and aspirational attitude under foreign conditions. GRACE here explores how my grandmother, my mother, and my sister in the British Caribbean community showed up gracefully.' - Alvaro BarringtonGrace runs until 26 January 2025 at @Tate Britain, free entry. Visit: https://www.tate.org.uk/whats-on/tate-britain/alvaro-barringtonFollow @AlvaroBarrington and @BMWGroupCulture Hosted on Acast. See acast.com/privacy for more information.

On this week's Haunting Season-themed Local Legends episode, the second of four, Martin gathers round the Three Ravens campfire with the acclaimed actor, art historian, and expert in classic ghost stories Robert Lloyd Parry.In case you've not heard of him, since 2005 Rob has been engaged in "The M.R. James Project," a set of performances where Rob, dressed and in character as 'The Father of the Modern Ghost Story,' performs James' terrifying tales to much acclaim, including from the likes of The Times and Sunday Times, The Washington Post, The Guardian, The Fortean Times, The Spectator, and The New Yorker, who said of the M.R. James Project, “Lloyd Parry's mastery of the role is itself an act of possession.”That's not to say Rob is a one trick pony – far from it. He read Classics at Oxford, completed his MA in Greek and Roman Art History at The University of London's Courtauld Institute of Art, and, as an art historian and museum interpreter, he researches and writes websites, audio and multimedia guides, apps, books, and guides for leading museums, galleries and heritage sites including the likes of The British Museum, Tate Britain, The National Gallery, The Fitzwilliam Museum, Royal Academy, and many, many more. In this interview, we focus in on M.R. James and classic ghost stories, discussing writers like Algernon Blackwood, H.G. Wells, H.P. Lovecraft, Charles Dickens, Arthur Conan Doyle, Oscar Wilde, and many others. What makes them so brilliant, and which of their tales would Rob recommend? Moreover, what made M.R. James such a special, singular writer whose influence on weird fiction is probably greater than any writer of the last 200 years?Gather close around the Three Ravens campfire as we get into it, and if you would like to see Rob live (an experience which highly recommend) do visit his theatre company's website and check his upcoming dates at https://www.nunkie.co.uk/scheduleOtherwise, we'll be back on Monday with our third trio of Haunting Season original ghost stories for 2024. So, see you then. We'll be the ones hiding in the shadows... The Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays (Magic and Medicines about folk remedies and arcane spells, Three Ravens Bestiary about cryptids and mythical creatures, Dying Arts about endangered heritage crafts, and Something Wicked about folkloric true crime from across history) plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon, too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?Learn more at www.threeravenspodcast.com, join our Patreon at www.patreon.com/threeravenspodcast, and find links to our social media channels here: https://linktr.ee/threeravenspodcast Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Named after the radical painter JMW Turner, the Turner Prize was set up in 1984 to celebrate British Contemporary Artists.   On Tuesday 24 September 2024 Tate Britain unveiled the work of the four artists who have been shortlisted for this year's prize: Pio Abad, Jasleen Kaur, Claudette Johnson and Delaine Le Bas. At the press view for the Turner Prize 2024 exhibition RNIB Connect Radio's Toby Davey caught up with one of the Curator's of the exhibition Amy Emmerson Martin, Assistant Curator, Contemporary British Art at Tate Britain to firstly find out a bit more about the history and background to the Turner Prize to then an introduction to each of the four shortlisted Artists along with an overview of their work that impressed the Turner Prize panel which is on display at Tate Britain.   The winner of the Turner Prize 2024 will be announced on 3 December and the exhibition of the four shortlisted Artists work continues at Tate Britain until 16 February 2025. Description tours with one of Tate's Visitor Engagement Assistants can be booked in advance by either emailing hello@tate.org.uk or calling 020 7887 8888. About the four shortlisted Artists: Pio Abad presents a restaging of his nominated exhibition at the Ashmolean Museum, Oxford, which explores cultural loss and colonial histories. Featuring drawings, sculptures and museum artefacts, Abad brings together in-depth research and collaboration to highlight overlooked histories and connections to everyday life, often from the perspective of his Filipino heritage. Newly added works include Kiss the Hand You Cannot Bite 2019, which reimagines an Imelda Marcos bracelet as a three-metre concrete sculpture, are shown alongside works like I am singing a song that can only be borne after losing a country 2023, a drawing that turns the underside of Powhatan's Mantle - a Native American robe in the Ashmolean's collection - into an imagined map of colonised lands. Jasleen Kaur presents works from her nominated exhibition at Tramway, Glasgow. Rethinking tradition, Kaur creates sculptures from gathered and remade objects, each animated through an immersive sound composition. Items including family photos, a harmonium, Axminster carpet and kinetic worship bells are orchestrated to convey the artist's upbringing in Glasgow. A central feature is music, which is used to explore both inherited and hidden histories. Yearnings 2023, is an improvised vocal soundscape of the artist's voice, which is layered over snippets of pop songs playing from the speakers of Sociomobile 2023, a vintage Ford Escort covered with a large doily crocheted from cotton and filling the space with Kaur's own musical memory. Delaine Le Bas presents a restaging of her nominated exhibition at the Secession, Vienna. For her Turner Prize presentation, the artist has transformed the gallery into a monumental immersive environment filled with painted fabrics, costume, film and sculpture. Presented across three chambers, the work addresses themes of death, loss and renewal, and draws on the rich cultural history of the Roma people and the artist's engagement with mythologies. Textile sculpture Marley 2023, for example, reimagines Dickens' ghostly eponymous character as a harbinger of chaos, welcoming the viewer to this carefully constructed and captivating world, whilst the film Incipit Vita Nova 2023, projected onto organdie fabric, transports the viewer deep into a dreamlike sequence, matching the fluidity and distortion of the mirrored walls around it. Claudette Johnson presents a series of works from her nominated exhibitions at The Courtauld Gallery, London and Ortuzar Projects, New York, alongside new works. Using pastels, gouache, oil and watercolour, Johnson creates striking figurative portraits of Black women and men, often depicting family and friends. Her works counter the marginalisation of Black people in Western art history, shifting perspectives and investing her portraits with a palpable sense of presence. Friends in Green + Red on Yellow 2023 represents a recent development in her practice of creating double portraits, whilst Pieta 2024 is one of the artist's first works on wood, made from pastel and oil on bark cloth. You will find out more about the Turner Prize 2024 exhibition by visiting the following pages of the Tate website - https://www.tate.org.uk/whats-on/tate-britain/turner-prize-2024 Image show the entrance to Tate Britain with two red banners reading 'Tate Britain' and  'Free For All'

Biesinger, Gabi www.deutschlandfunkkultur.de, Fazit

1574, and a baby girl on board a ship fleeing from France, arrives in London. Esther Inglis went on to become a successful Tudor bookmaker and artist and Eleanor Chan argues that the inclusion of psalm music in the self portraits created by Inglis is a coded way of symbolising belonging at a time of religious strife. The essay draws on research done by New Generation Thinker Eleanor Chan, who has been working as a Leverhulme Early Career Fellow at the University of Manchester and the Warburg Institute. Work by Esther Inglis is included in the exhibition Now You See Us: Women Artists in Britain 1520–1920 which runs at Tate Britain until October 13th 2024 You can hear more about Tudor music and art in a Free Thinking episode called a Lively Tudor World which features Eleanor Chan and Christina Faraday. It's available on BBC Sounds. You can also find Eleanor Chan's Essay about another Tudor composer - The discordant tale of Thomas Weelkes. Producer: Luke Mulhall

PUSHING THE BOUNDARIES. Maria Balshaw is Director of Tate since June 2017. The author of Gathering of Strangers: Why Museums Matter, published by Tate Publishing in June 2024, previously Maria was Director of the Whitworth, University of Manchester; Director of Manchester City Galleries; and Director of Culture for Manchester City Council. She is the first female director of the Tate, with overall responsibility for Tate's strategic direction and day-to-day operations, and each of the four Tate galleries has their own site Director who reports in to her. “We're reshaping what people think about when they describe the art world” “People come because they want to learn something, and they enjoy doing it because at best our museums are non-didactic learning spaces.” “When people are given the opportunity to bring their own ideas or participate actively, it makes them feel like the gallery is their own.”

Why were nudes so significant in Victorian England? What role did painting them play in wider social change at that time? And why didn't men think that women had the capacity for genius?Joining Kate today is Tabitha Barber, curator of the Tate Britain exhibition Now You See Us, which explores women artists in Britain over the last 500 years.You can also watch Kate in a documentary all about this, called The Fight To Paint, over on History Hit - simply follow this link.This episode was edited by Tom Delargy and produced by Stuart Beckwith. The senior producer was Charlotte Long.Voting is open for the Listener's Choice Award at the British Podcast Awards, so if you enjoy what we're doing, we'd love it if you took a quick follow this link and click on Betwixt the Sheets: https://www.britishpodcastawards.com/votingEnjoy unlimited access to award-winning original documentaries that are released weekly and AD-FREE podcasts. Sign here for up to 50% for 3 months using code BETWIXTYou can take part in our listener survey here.Betwixt the Sheets: History of Sex, Scandal & Society is a History Hit podcast.

Jason Singh is a sound artist, producer and performer. His creative output is an exploration of the natural world, voice and a wide range of music technologies. Works include live performance, immersive installations, studio recordings, broadcasts and sound walks. In this show he talks about how he makes music using the MIDI Sprout interface, a device that senses the electrical voltage of plants and converts it into MIDI information. He then uses the notes to control Ableton to produce the sounds he used in his recordings and immersive installations.Chapters00:00 - Introduction01:48 - Getting Started in Audio06:17 - Collaborating With Other Creatives09:46 - Studio Toys12:48 - Custom Built Instruments And Interfaces14:08 - Live Performances19:41 - Collaborating With Nature Using Biofeedback25:07 - Using The MIDI Sprout and PlantWave29:47 - Experiencing Nature Sounds In Real-Time31:44 - Creating An Immersive Installation For Womad40:54 - Opening Your Ears To Everyday SoundsAudio Credits:Afternoon - a commission by National Trust to create an entirely vocal piece which mimics the sounds of a woodland area in Tatton Park in Cheshire.Passing Light - an Ambient Jazz piece featuring trumpet player Yazz Ahmed.Rhubarb  - is a biosonfication track from the latest release "The Hidden Music of Plants and Trees", created in collaboration with a Rhubarb plant.MIDI Sprout - https://www.midisprout.com/PlantWave - https://plantwave.com/en-gbJason Singh BiogJason Singh is sound artist, nature beatboxer, producer, dj, curator, facilitator and performer. Jason's life and work is rooted in listening - he follows a multi-sensory and cross-species approach to sound and music. His creative output is an exploration of the natural world, voice and a wide range of music technologies. Works includes live performance, immersive installations, studio recordings, music for film and theatre, deep listening and well being experiences, sound walks, broadcasts, music workshops, podcasts, soundtapes and immersive DJ sets. Collaborations and commissions include a diverse range of organisations and artists including BBC, Yorkshire Sculpture Park, V&A Museum, Earthshot Prize, WOMAD, Kew Gardens, Chester Zoo, SONOS, Luke Jerram, BFI, Celtic Connections, RNLI, National Trust, Tate Britain, Nitin Sawhney, George Ezra, Big Narstie, Yazz Ahmed, Shabaka Hutchings, Sebastian Rochford, Leafcutter John, Graham Massey (808 State), Natacha Atlas, Sarathy Korwar, Talvin Singh and Rokia Traore to name just a few. Jason is an associate Soundscape artist with D&B audiotechnik.https://jasonsinghthing.com/Credits:Afternoon - was a commission by National Trust to create an entirely vocal piece which mimics the sounds of a woodland area in Tatton Park in Cheshire, England. Passing Light - Ambient Jazz piece featuring trumpet player Yazz Ahmed Rhubarb  - is a biosonfication track from the release "The Hidden Music of Plants and Trees" created in collaboration with a Rhubarb plant.Caro C BiogCaro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album 'Electric Mountain' is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This 'sonic enchantress' (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.URL: http://carocsound.com/Twitter: @carocsoundInst: @carocsoundFB: https://www.facebook.com/carocsound/

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

Hot on the heels of Women in Revolt!, Tate Britain is hosting another huge exhibition dedicated to professional women artists, spanning 400 years from the early 16th Century. Now You See Us: Women Artists in Great Britain, 1520-1920 puts paid to the notion that women couldn't make a living from art, and only ever pursued it as a cute leisure activity. Jen caught up with Tabitha Barber, Tate Britain's Curator of British Art, 1550-1750, to talk about what women artists were up to, why misconceptions around them exist and why art is *sort of* like football when it comes to ideas about the sexes. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's Spectator Out Loud: Quentin Letts takes us through his diary for the week (1:12); Owen Matthews details the shadow fleet helping Russia to evade sanctions (7:15); Michael Hann reports on the country music revival (15:05); Laura Gascoigne reviews exhibitions at the Tate Britain and at Studio Voltaire (21:20); and, Michael Simmons provides his notes on the post-pub stable, the doner kebab (26:20).   Produced by Patrick Gibbons and Oscar Edmondson.  

On this week's Spectator Out Loud: Quentin Letts takes us through his diary for the week (1:12); Owen Matthews details the shadow fleet helping Russia to evade sanctions (7:15); Michael Hann reports on the country music revival (15:05); Laura Gascoigne reviews exhibitions at the Tate Britain and at Studio Voltaire (21:20); and, Michael Simmons provides his notes on the post-pub stable, the doner kebab (26:20).   Produced by Patrick Gibbons and Oscar Edmondson.  

Have you ever been to an exhibition that changes your heart rate, slows you down, and inspires you to take a nap with a cat? Such was our experience at Zeinab Saleh's exhibition at the heart of Tate Britain, part of the Art Now program, which welcomes contemporary young artists in one of the many rooms of the museum.We discuss the notion of quiet, how it is dismissed in our culture, and how the artist not only embraces it but also almost magically creates it through mixed media paintings and drawings. A simple setting eliciting mindful dreaming and sheer presence.The exhibition was curated by Amy Emmerson Martin (assistant curator) and Nathan Ladd (curator).For more information visit the Tate's webiste: https://www.tate.org.uk/whats-on/tate-britain/zeinab-saleh@exhibitionistas_podcastMusic: Sarturn

We take a tour of Tate Britain's new exhibition, Now You See Us, featuring more than 100 women artists who worked between the 16th and 20th centuries, with Tabitha Barber, its curator. The Dia Art Foundation has reached its half century and its director, Jessica Morgan, tells us how it has changed in that time, and especially how it has radically expanded the range of artists it shows and collects. We also discuss the new commission at Dia Beacon by Steve McQueen. And this episode's Work of the Week is one of the few record-breaking paintings in a relatively middling auction week in New York: Martin Wong's Portrait of Mikey Piñero at Ridge Street and Stanton (1985), which sold for more than $1.6m (with fees) on Tuesday evening at Christie's. Barry Blinderman, who sold the work in 1985 from his Semaphore gallery in New York, tells us more about the painting and the extraordinary circumstances of its making.Now You See Us: Women Artists in Britain 1520-1920, Tate Britain, London, until 13 October.Steve McQueen: Bass, Dia Beacon, until 12 May 2025. Hosted on Acast. See acast.com/privacy for more information.

Bruce Robinson has written a stage adaptation of his cult 1987 film Withnail And I - a tragicomedy that evokes the end of an era as the 60s give way to 70s and dreams collide with reality in the lives of the two main characters. The play has just opened at the Birmingham Rep, directed by Sean Foley. Both of them talk about the challenges of adapting and staging a much loved classic and the degree to which it needed to remain true to the original.Now You See Us - an exhibition spanning 400 years of women in art - opens at Tate Britain this week. Art critic Charlotte Mullins and art historian and biographer Frances Spalding give their verdict on how the collection represents the pioneers from Angelica Kauffman to Laura Knight.

We are delighted to welcome Dr Amy Lim to the podcast to discuss the exhibition 'Now You See Us: Women Artists in Britain 1520-1920' which opens at Tate Britain on May 16th. Amy speaks about the enormous scope of such an exhibition through key themes and barriers in the field women's art which have recurred across the centuries. With plenty of nineteenth century and Pre-Raphaelite adjacent artists on display, this exhibition is one not to be missed!    For more information and to buy tickets: www.tate.org.uk/whats-on/tate-britain/women-artists-in-britain-1520-1920   For more information and to subscribe to the Pre-Raphaelite Society, please visit www.pre-raphaelitesociety.org    All donations towards the maintenance of this podcast are gratefully received: https://gofund.me/60a58f68   

Robert Bound visits Tate Britain's ‘Sargent and Fashion' exhibition to explore the painter's role as a pioneer of the art of styling. We also speak to Suzi Ronson about her memoir, ‘Me and Mr Jones: My Life with David Bowie and the Spiders from Mars', and how she crafted many of the singer's iconic looks. Plus, we hear from stylist Emily Evans. See omnystudio.com/listener for privacy information.

Artist Zineb Sedira records cultural and postcolonial connections between Algeria, France, Italy, and the UK from the 1960s, featuring films, rugs, and radical magazines from her personal archive. Dreams Have No Titles (2022) is Zineb Sedira's love letter to cinema, the classic films of her childhood in Paris, coming of age in Brixton in London, and ‘return' to Algiers - three cities between which the artist lives and practices. Born in 1963, the year after Algeria achieved independence from French colonial rule, her and her family's diasporic story is central to her practice. Zineb recalls her first encounters with 'militant cinema', and international co-productions like the Golden Lion-winning The Battle of Algiers (1966). She shares her decision to represent France at the 59th Venice Biennale in 2022, controversial reactions from French media and society, and solidarity from her radical contemporaries and women, like Françoise Vergès, Sonia Boyce, Latifa Echakhch, Alberta Whittle, and Gilane Tawadros. We discuss the legacy of her work in the selection of Julien Creuzet, the first person of Caribbean descent and from the French overseas territories to represent France at the Venice Biennale in 2024. Zineb shares how personal histories contribute to collective memory, subverting ideas of ‘collection', and using museum and gallery spaces to make archives more accessible. With orientalist tapestries and textiles - her ‘feminist awakening' - we discuss how culture can both perpetuate political and colonial hierarchies, and provide the possibility to ‘decolonise oneself'. From her academic research in the diaspora, Zineb suggests how she carried much knowledge in her body as lived experience, detailing her interest in oral histories (and podcasts!), as living archives. With Nina Simone, Miriam Makebe, and Archie Shepp, performers at the Pan-African Festival in Algiers (1969), she shows her love of jazz and rock music, played with her community of squatters and fellow students from Central Saint Martins. Finally, we see how the meaning of her participatory works change as they travel and migrate between global audiences, and institutions and funding in Algiers today, via aria, her research residency for artists. Zineb Sedira: Dreams Have No Titles runs at the Whitechapel Gallery in London until 12 May 2024. A free Artist and Curator Talk (with some of Zineb's ‘tribe') takes place at the Gallery on 11 April 2024. and the film version of the work shows at Tate Britain in London until September 2024. Zineb Sedira: Let's Go On Singing! ran at the Goodman Gallery in London until 16 March 2024. Part of EMPIRE LINES at Venice, a series of episodes leading to Foreigners Everywhere (Stranieri Ovunque), the 60th Venice Biennale or International Art Exhibition in Italy, in April 2024. For more about Souffles, Tricontinental, and the Casablanca Art School (1962-1987), listen to curator Morad Montazami at Tate St Ives in Cornwall. For more about Baya, read into: Baya: Icon of Algerian Painting at the Arab World Institute, Institut du Monde Arabe (IMA), in Paris. Kawkaba: Highlights from the Barjeel Art Foundation, part of Modern and Contemporary Art of the Arab World. at Christie's London. And for another artist inspired by the port city of Venice, tune in to Nusra Latif Qureshi's 2009 work, Did You Come Here To Find History?, with curator Hammad Nasar. WITH: Zineb Sedira, Paris and London-based artist, who also works in Algeria. Working between the media of photography, film, installation and performance, she was shortlisted for the 2021 Deutsche Börse Photography Foundation Prize. Dreams Have No Titles was first commissioned for the French Pavilion at the 59th Venice Biennale in 2022. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

Penny Slinger is a Los Angeles–based artist whose work investigates the feminine, the magical and the erotic. In the late 1960s, her encounters with the work of Max Ernst initiated an enduring involvement with both the Surrealist movement and the medium of collage. Her groundbreaking publications such as 50% The Visible Woman (1971) and An Exorcism: A Photo Romance (1977) explore the image of woman through a series of often provocative photomontage self-portraits, and a new expanded edition of An Exorcism will be published by Fulgur Press later this year. Her studies of various divine feminine practices including Tantra led her to co-create The Secret Dakini Oracle deck in the 1970s, and the deck is still in print now under the name The Tantric Dakini Oracle Deck, and she has continued to work with dakini imagery over decades. Penny's work is in many international museum collections, including Tate Britain, and was included in the Tate's recent exhibition “Women in Revolt!” Other notable exhibitions showcasing Penny's work include “The Dark Monarch” at Tate Gallery St Ives, “Angels of Anarchy” at Manchester Art Museum, and countless solo shows around the world. She also recently collaborated with House of Dior, and, as you'll hear, has many more projects in the works.On this episode, Penny Slinger discusses her self-celebrating surrealist art practice, her lifelong devotion to the divine feminine, and how she's celebrating aging in her work and in her life.Pam also talks about older witch archetypes, and answers a listener question about embracing the magic of middle age.Our sponsors for this episode are Black Phoenix Alchemy Lab, Sphere + Sundry, BetterHelp, and Woodland MagicWe also have brand new print-on-demand merch like Witch Wave shirts, sweatshirts, totes, stickers, and mugs available now here.And if you want more Witch Wave, please consider supporting us on Patreon to get access to bonus Witch Wave Plus episodes, Pam's monthly online rituals, and more! That's patreon.com/witchwave

Four years after Tate Britain closed its restaurant because Rex Whistler's murals on its walls contained racist imagery, it has unveiled the work it commissioned in response to Whistler's painting by the artist Keith Piper. We talk to Piper about the work. The annual Art Basel & UBS Art Market Report was published on Wednesday and, as ever, reviews the status of the international art market. We speak to its author, the cultural economist and founder of the company Arts Economics, Clare McAndrew. And this episode's Work of the Week is With Verticals, one of Anni Albers's pictorial weavings, made in 1946. It is a key piece in the exhibition Woven Histories: Textiles and Modern Abstraction, which arrived this week at the National Gallery of Art in Washington. We discuss the weaving with the show's curator, Lynne Cooke.Keith Piper: Viva Voce, Tate Britain, until at least 2025.Art Basel and UBS Art Market Report 2024, theartmarket.artbasel.com.Woven Histories: Textiles and Modern Abstraction, National Gallery of Art, Washington DC, 17 March-28 July; National Gallery of Canada, Ottawa, 25 October-2 March 2025; The Museum of Modern Art, New York, 20 April 2025-13 September 2025. Hosted on Acast. See acast.com/privacy for more information.

At the launch of his latest video installation at the Tate St Ives, artist Andy Holden meets with David Oakes to discuss the creativity present within the bird world. But, whilst exploring avian aesthetics, Andy's artwork - "A Natural History of Nest Building" - also explores the roles of nature versus nurture at an additional level. This exhibition, one exploring how and why Birds learn to create nest structures, is created by a father and son team; the son an artist, and the father a famous ornithologist. Which begs question: was this film, one about creating homes, nurturing eggs, and fledging one's young, really just about birds? In this ornithological deep dive, Andy and Peter Holden discuss approaching a shared passion from opposite directions. You'll hear about the super-stimulus associated with the gaping beak of the infanticide-committing cuckoo, the individual spin that different birds of the same species place upon their own personal nests, and the complicated legacy of the mysterious egg-stealing Jordain Society. Andy Holden is a multi-faceted artist who has exhibited at the Tate Britain, has had music aired on BBC 6 Music, and has created everything from human-sized bower-bird bowers, to enormous knitted rocks based upon a piece of pyramid which he stole as a boy. His father, Peter Holden MBE, worked for the RSPB for almost 40 years to boost their youth engagement. He was most notably instrumental in developing their “Big Garden Birdwatch” - the UK's first 'citizen science' project, which has been running now for 45 years, and counted around 190 million birds. Why not become a "Subscription Squirrel" on our Patreon, and help support the production of this podcast? Hosted on Acast. See acast.com/privacy for more information.

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

Iseult Gonne is the daughter of the Irish suffragette, actress and republican who became a muse for WB Yeats. Novelist Helen Cullen has been researching her troubled life. Rochelle Rowe's research looks at women of colour who modelled for artists including Jacob Epstein and Dante Gabriel Rosetti, tracing the histories of women like Fanny Eaton and Sunita Devi. Tabitha Barber is curating an exhibition of women's art opening at Tate Britain in May. Naomi Paxton hosts a conversation about muses, women making art and carving out a public name for themselves.Victorian Radicals: From the Pre-Raphaelites to the Arts and Crafts Movement runs at Birmingham Museum and Art Gallery until 31 October From16 May, Tate Britain opens Now You See Us: Women Artists in Britain 1520 - 1920 Angelica Kauffman runs at the Royal Academy (1 March - 30 June 2024) Julia Margaret Cameron runs at the National Portrait Gallery (21 March - 16 June)You can find a collection of episodes exploring Women in the World on the Free Thinking programme website

Recycling Victorian clothes, the history of costume design, the messages conveyed in art made from textiles and the stories encoded in ancient embroidery are explored by Shahidha Bari and her guests Isabella Rosner, Rianna Norbert-David, Jade Halbert and Danielle Dove. They also look at exhibitions at the Barbican Gallery in London and the Museum of London in Docklands.Isabella Rosner is the curator of the Royal School of Needlework and a New Generation Thinker. You can hear an Essay from her about Quaker needlework broadcast on BBC Radio 3 in March Jade Halbert is a New Generation Thinker based at the University of Leeds working on the project https://www.constructingcostumehistories.co.uk/ Danielle Dove is a Fellow of the Institute for Sustainability at the University of Surrey researching second hand clothes in the Victorian period Rianna Norbert-David is an assistant curator at the Museum of London and has a MA in textile design from the Royal College of ArtUnravel: The Power and Politics of Textiles in Art runs at the Barbican Art Gallery in London from Tue 13 Feb—Sun 26 May 2024 Fashion City: How Jewish Londoners shaped global style runs at the Museum of London in Docklands until 14 April 2024 Sargent and Fashion runs at Tate Britain in London from 22 Feb - 7 July 2024 Leeds Art Gallery runs monthly stitch art events using works in their collection as the inspiration for textile art. The University is home to the M&S archive https://archive.marksandspencer.com/ Producer: Robyn Read

Zineb Sedira talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Sedira, born in Paris in 1963 to Algerian parents and based in London since 1986, uses film, photography, installation, sculpture and other media to reflect on memory, from the personal to the collective and historical. She explores representation, language and family, intimately informed by her French, Algerian and British identity. By mining her singular autobiography and its connection with colonial histories and their contemporary legacies, Sedira has created a body of work that is at once politically nuanced, emotionally complex and visually rich. She discusses her early interest in Mary Kelly, her enduring engagement with the art of JMW Turner, and her admiration for the Algerian painter Baya. She reflects on her fascination with the Pan-African Festival in Algiers in 1969, the subject of a body of work. And she talks about her love of jazz and ska, the influence of postcolonial writers, among much else. Plus, she gives insight into her studio life and answers our usual questions, including the ultimate: “what is art for?”Zineb Sedira: Dreams Have No Titles, Whitechapel Gallery, London, 15 February-12 May; the film version of the work is on display at Tate Britain until September 2024; Dreams Have No Titles, Cultural Foundation, Abu Dhabi , UAE, 3 October-28 January 2025; Let's go on singing!, Goodman Gallery, London, until 16 March; Standing Here Wondering Which Way to Go, Calouste Gulbenkian Museum, Lisbon, Portugal, 19 June 2025-22 September 2025. Hosted on Acast. See acast.com/privacy for more information.

In the first episode of 2024 we look ahead to the next 12 months. The Art Newspaper's acting art market editor Tim Schneider peers into his crystal ball to tell us what we might expect from the coming 12 months in the art market. Then, Jane Morris, editor-at-large, Gareth Harris, chief contributing editor, and host Ben Luke select the biennials and exhibitions they are most looking forward to in 2024.Events discussed:60th Venice Biennale: Foreigners Everywhere, 20 April-24 November; Pierre Huyghe, Punta Della Dogana, Venice, 17 March-24 November; Julie Mehretu, Palazzo Grassi, Venice, 17 March-6 January; Willem de Kooning, Gallerie dell'Accademia, Venice, 16 April–15 September; Jean Cocteau, Peggy Guggenheim Collection, Venice, 13 April-16 September; Whitney Biennial: Whitney Museum of American Art, opens 20 March; PST Art: Art & Science Collide, 14 September-16 February; Istanbul Biennial, 14 September-17 November; Diriyah Contemporary Art Biennale 2024, Saudi Arabia, 20 February-24 May; Desert X 2024 AlUla, Saudi Arabia, 9 February-30 April; Frick Collection, New York, reopening late 2024; Grand Egyptian Museum, Giza, Egypt, dates tbc; IMAGINE!: 100 Years of International Surrealism, The Royal Museums of Fine Arts of Belgium, 21 February-21 July; Centre Pompidou, Paris, 4 September-6 January (travels to Hamburger Kunsthalle, Germany, Fundación Mapfré, Madrid, Philadelphia Museum of Art, US); Paris 1874: Inventing impressionism, Musée d'Orsay, 26 March-14 July; National Gallery of Art, Washington DC, 8 September-19 January; Van Gogh, National Gallery, London, 14 September-19 January; Matthew Wong, Vincent van Gogh, Van Gogh Museum, Amsterdam, 1 March-1 September; Caspar David Friedrich, Kunsthalle, Hamburg, Germany, until 1 April; Caspar David Friedrich, Alte Nationalgalerie, Berlin, 19 April-4 August; Caspar David Friedrich, Albertinum and Kupferstich-Kabinett, Dresden, Germany, 24 August-5 January; Arte Povera, Bourse de Commerce, Paris, 9 October-24 March; Brancusi, Centre Pompidou, Paris, 27 March-1 July; Comics, Centre Pompidou, Paris, 29 May-4 November; Yoko Ono, Tate Modern, London, 15 February-1 September 2024; Angelica Kauffman, Royal Academy, London, 1 March-30 June; Women Artists in Britain, Tate Britain, London, 16 May-13 October; Judy Chicago, Serpentine North, London, 22 May-1 September; Vanessa Bell, Courtauld Gallery, London, 25 May-6 October; Woven Histories: Textiles and Modern Abstraction, Los Angeles County Museum of Art, US, until 21 January; National Gallery of Art, Washington DC, 17 March-28 July; National Gallery of Canada, Ottawa, 25 October-2 March; The Museum of Modern Art, New York, dates tbc; Unravel: The Power and Politics of Textiles in Art, Barbican, London, 13 February-26 May 2024, Stedelijk Museum, Amsterdam, 14 September-5 January; The Harlem Renaissance, Metropolitan Museum of Art, New York, 25 February-28 July; Siena: the Rise of Painting, 1300-50, Metropolitan Museum, 13 October-26 January; Museum of Modern Art, New York, shows: Joan Jonas, 17 March-6 July, LaToya Ruby Frazier, 12 May-7 September, Käthe Kollwitz, 31 March-20 July; Kollwitz, Städel Museum, Frankfurt, Germany, 20 March-9 June; Käthe Kollwitz, SMK-National Gallery of Denmark, Copenhagen, 7 November-25 February; The Anxious Eye: German Expressionism and Its Legacy, National Gallery of Art, Washington DC, 11 February-27 May; Expressionists, Tate Modern, London, 25 April-20 October; Gabriele Münter: the Great Expressionist Woman Painter, Thyssen Bornemisza, Madrid, 12 November-9 February Hosted on Acast. See acast.com/privacy for more information.