Podcast appearances and mentions of tate gallery

Paul Marden heads to the AVEA conference in front of a LIVE audience to find out why gift shops are such an important part of the attraction mix. Joining him is Jennifer Kennedy, Retail Consultant, JK Consulting and Michael Dolan, MD of Shamrock Gift Company. They discuss why your gift shop is an integral part of your brand and why it needs to be just as good as the experience you have on offer. This coinsides with the launch of our brand new playbook: ‘The Retail Ready Guide To Going Beyond The Gift Shop', where you can find out exactly how to improve your online offering to take your ecommerce to the next level. Download your FREE copy here:  https://pages.crowdconvert.co.uk/skip-the-queue-playbookBut that's not all. Paul walks the conference floor and speaks to:Susanne Reid, CEO of Christchurch Cathedral Dublin, on how they are celebrating their millennium anniversary - 1000 years!Charles Coyle, Managing Director, Emerald Park, on how they are bringing AI integrations to enhance their booking processesRay Dempsey, General Manager of The Old Jamerson Distillery on how they offering more accessible touring optionsIt's a mega episode and one you'll not want to miss. Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on LinkedIn. Show references:  Jennifer Kennedy — Founder, JK Consultinghttps://jkconsultingnyc.com/https://www.linkedin.com/in/jennifer-kennedy-aba75712/Michael Dolan — Managing Director, Shamrock Gift Companyhttps://www.shamrockgiftcompany.com/Catherine Toolan — Managing Director, Guinness Storehouse & Global Head of Brand Homes, Diageohttp://diageo.comhttps://www.linkedin.com/in/catherinetoolan/Máirín Walsh — Operations Manager, Waterford Museumhttps://www.waterfordtreasures.com/Dean Kelly — Photography & Visitor Experience Specialist https://www.wearephotoexperience.com/https://www.linkedin.com/in/dean-kelly-1259a316/Charles Coyle — Managing Director, Emerald Parkhttps://www.emeraldpark.ieSusanne Reid — CEO, Christ Church Cathedral Dublinhttp://www.christchurchcathedral.iehttps://www.linkedin.com/in/susannereid/Ray Dempsey — General Manager, Jameson Distilleryhttps://www.jamesonwhiskey.com/en-ie/visit-our-distilleries/jameson-bow-street-distillery-tour/https://www.linkedin.com/in/ray-dempsey-37a8665a/ Transcription: Paul Marden: Welcome to Skip the Queue, the podcast that tells the stories behind the world's best attractions and the amazing people that work in them. In today's episode, I'm at the AVEA 2025 conference in Waterford, Ireland, and we're talking about gift shop best practices. With Jennifer Kennedy from JK Consulting, a tourism and retail consultancy. And Jennifer led retail at Guinness Storehouse for more years than she would care to mention, I think. And we're also here with Michael Dolan, MD of Shamrock Gift Company, who has brought along the most amazing array of gift shop merchandise, which I'm sure we'll get into talking a little something about later on. And I've also got an amazing live audience. Say hello, everybody.Everyone: Hello.Paul Marden: There we go. So we always start with icebreaker that I don't prepare the two of you. Now this is probably a very unfair question for the pair of you, actually. What's the quirkiest souvenir you've ever bought? I can think of those little, the ones that you get in Spain are the little pooping santas.Jennifer  Kennedy: I have a thing for Christmas decorations when I go on travel, so for me, there always tends to be something around having a little decoration on my tree every year. That if I've had one or two holidays or I've been away, that has some little thing that comes back that ends up on the tree of Christmas. I have a lovely little lemon from Amalfi that's a Christmas decoration, and so you know, so a little kind of quirky things like that.Paul Marden: Michael, what about you? Michael  Dolan: One of our designers who will remain nameless? She has a thing about poo. So everyone brings her back to some poo relation. Paul Marden: Sadly, there's quite a lot of that around at the moment, isn't there? That's a bit disappointing. First question then, what's the point of a gift shop? If I put that in a more eloquent way, why are gift shops such an important part of the attraction mix?Jennifer  Kennedy: Okay, it was from my point of view, the gift shop in an attraction or a destination is the ultimate touch point that the brand has to leave a lasting memory when visitors go away. So for me, they're intrinsically important in the complete 360 of how your brand shows up— as a destination or an attraction. And without a really good gift shop and really good product to take away from it, you're letting your brand down. And it's an integral piece that people can share. From a marketing point of view, every piece of your own product that's been developed, that's taken away to any part of the world can sit in someone's kitchen. It can be in multiple forms. It can be a fridge magnet. It could be a tea towel. It could be anything. But it's a connection to your brand and the home that they visited when they chose to be wherever they're visiting. So for me, I'm very passionate about the fact that your gift shop should be as good as everything else your experience has to offer. So that's my view on it. Michael  Dolan: Sometimes it's neglected when people create a new visitor attraction. They don't put enough time into the retail element. I think that's changing, and a very good example of that would be Game of Thrones in Banbridge. We worked with them for two years developing the range, but also the shop. So the shop reflects the... I actually think the shop is the best part of the whole experience. But the shop reflects the actual whole experience.  Jennifer  Kennedy: The teaming.Michael  Dolan: The teaming. So you have banners throughout the shop, the music, the lighting, it looks like a dungeon. All the display stands have swords in them, reflecting the theme of the entrance.Jennifer  Kennedy: Yeah, it's a good example of how a brand like that has incorporated the full essence and theme of why they exist into their physical retail space.Paul Marden: They definitely loosened a few pounds out of my pocket. Michael  Dolan: Another good example is Titanic Belfast. So they spent 80 million on that visitor attraction, which was opened in 2012, but they forgot about the shop. So the architect who designed the building designed the shop that looked like something out of the Tate Gallery. Yeah, and we went and said, 'This shop is not functional; it won't work for our type of product.' They said, 'We don't have anything in the budget to redevelop the shop.' So we paid a Dublin architect to redesign the shop. So the shop you have today, that design was paid for by Shamrock Gift Company. And if you've been in the shop, it's all brass, wood, ropes. So it's an integral part of the overall experience. But unfortunately... you can miss the shop on the way out.Paul Marden: Yeah, it is very easy to walk out the building and not engage in the shop itself. It's a bit like a dessert for a meal, isn't it? The meal's not complete if you've not had a dessert. And I think the gift shop experience is a little bit like that. The trip to the experience isn't finished.  If you haven't exited through the gate. Michael  Dolan: But it's the lasting memories that people bring back to the office in New York, put the mug on the table to remind people of when they're in Belfast or Dublin to go to. You know, storehouse or Titanic. So those last impressions are indelibly, you know, set.Paul Marden: So we've already said the positioning of the shop then is super important, how it feels, but product is super important, isn't it? What product you fill into the shop is a make or break experience? How do you go about curating the right product? Michael  Dolan: Most important is authenticity. You know, it has to be relevant to the visitor attraction. So it's not a question of just banging out a few key rings and magnets. So I brought you along some samples there. So we're doing two new ranges, one for Titanic and one for the Royal Yacht Britannia, and they're totally different. But reflect the personality of each attraction.Paul Marden: Absolutely.Michael  Dolan: I mean, a good example, we worked together or collaborated together on many, many projects in Guinness. But we also worked in St. Patrick's Cathedral.Jennifer  Kennedy: Yeah.Michael  Dolan: You were the consultant.Jennifer  Kennedy: Yeah, yeah. So I suppose, again, from the product point of view. Yeah, if you can root product in why the experience exists. So in that example, a cathedral is a great example of how you can create really great product by utilising. Well, the main reason people are there is because this amazing building exists and the historic elements of it. So I suppose to make it real, some examples of products that connected with the audience in that environment are things like a little stone coaster. But the stone coaster is a replica of the floor you're standing on. So I suppose the other balance in attractions is realistic price points and realistic products. So there's no point in creating a range of products that's outside the price point of what your visitors are prepared to pay. So it's that fine balance of creating product that connects with them, which is, I'm using the cathedral as an example because you've got architraves, you've got stained glass windows, you've got stunning tiles. So all the elements of the fabric of that building. Can be utilised to create really beautiful products, but castles, you know, cathedrals, all of those sorts of spaces.Jennifer  Kennedy: When we start talking about product, always we go to, 'why are we here?' And also the storytelling elements. There's some beautiful stories that can, I can give you another really great example of a product that was created for another cathedral, which was... So in cathedral spaces, there's all these stunning doors that run the whole way through, like they're spectacular; they're like pieces of art in their own right. And every one of them has a very unique ornate key that unlocks each door. So one of the products that did one of the cathedrals was we wanted to create a ring of brass keys with replicas of all the keys in the cathedral. But as we were progressing, we forgot at the start— it was like we forgot to tell them to scale them down. They weren't the same size as all the keys in the cathedral. So it was a very intrinsically specific gift to this particular cathedral. And it's been used ever since as kind of the special gift they give to people who come to visit from all over the world. They get quite emotional about this particular gift because it's like this is the actual replica of all the keys to all the doors in the cathedral.Jennifer  Kennedy: So it's a product that's completely born. It can never be replicated anywhere else. And it's completely unique to that particular space. And I think that's the power of, for me, that's what authenticity feels and looks like in these environments. It has to be connected to the fabric of why you exist.Paul Marden: Yeah, so I was at Big Pit in Wales six months ago, I think it was. Museums Wales are redeveloping all of their gift shops and they are going through exactly that process that you're talking about, but bringing it back to the place itself because all, I think, it's six of their museums, the gift shops had much the same set of product. They described it as, you know, you were just walking into a generic Welsh gift shop with the dressed lady.Jennifer  Kennedy: And it's hard— like it really takes an awful lot of work— like it doesn't just happen, like you really have to put a lot of thought and planning into what our product should and could look like. And then, when you've aligned on with the team of people managing and running these businesses, that this is the direction you want to take, then it's the operational element of it. It's about sourcing, MOQs, and price, and all of that stuff that comes into it. Minimum order quantities.Michael  Dolan: That's where we come in. So, you know, we met Jennifer in St. Patrick's and we met Liz then, we met the Dean. So we really sat around and talked about what were the most important elements in the cathedral that we wanted to celebrate in product.Michael  Dolan: And St. Patrick obviously was the obvious number one element. Then they have a harp stained glass window. And then they have a shamrock version of that as well. So they were the three elements that we hit on. You know, it took a year to put those three ranges together. So we would have started out with our concept drawings, which we presented to the team in St. Patrick's. They would have approved them. Then we would have talked to them about the size of the range and what products we were looking at. So then we would have done the artwork for those separate ranges, brought them back in to get them approved, go to sampling, bring the samples back in, then sit down and talk about pricing, minimum order quantities, delivery times.Michael  Dolan: So the sample, you know, so that all goes out to order and then it arrives in about four or five months later into our warehouse. So we carry all the risk. We design everything, we source it, make sure that it's safely made, all the tests are confirmed that the products are good. In conformity with all EU legislation. It'll be in our warehouse and then it's called off the weekly basis. So we carry, we do everything.  So one stop shop. Paul Marden: So the traction isn't even sitting on stock that they've invested in. We know what we're doing and we're quite happy to carry the risk. So one of the things we were talking about just before we started the episode was the challenges of sourcing locally. It's really important, isn't it? But it can be challenging to do that.Jennifer  Kennedy: It can. And, you know, but I would say in recent years, there's a lot more creators and makers have come to the fore after COVID. So in kind of more... Specifically, kind of artisan kind of product types. So things like candles are a great example where, you know, now you can find great candle makers all over Ireland with, you know, small minimum quantity requirements. And also they can bespoke or tailor it to your brand. So if you're a museum or if you're a, again, whatever the nature of your brand is, a national store or whatever, you can have a small batch made. Which lets you have something that has provenance. And here it's Irish made, it's Irish owned. And then there's some, you know, it just it gives you an opportunity.Jennifer  Kennedy: Unfortunately, we're never going to be in a position where we can source everything we want in Ireland. It just isn't realistic. And commercially, it's not viable. As much as you can, you should try and connect with the makers and creators that they are available and see if small batches are available. And they're beautiful to have within your gift store, but they also have to be the balance of other commercial products that will have to be sourced outside of Ireland will also have to play a significant role as well.Máirín Walsh: I think there needs to be a good price point as well. Like, you know, we find that in our museum, that, you know, if something is above 20, 25 euro, the customer has to kind of really think about purchasing it, where if it's 20 euro or under, you know, it's...Michael  Dolan: More of an input item, yeah.Máirín Walsh: Yes, exactly, yeah.Paul Marden: And so when it's over that price point, that's when you need to be sourcing locally again. Máirín Walsh: It's a harder sell. You're kind of maybe explaining a bit more to them and trying to get them to purchase it. You know, they have to think about it.Jennifer  Kennedy: But it's also good for the storytelling elements as well because it helps you engage. So I've often found as well that even train the teams and the customer service. It's actually a lovely space to have, to be able to use it as part of storytelling that we have this locally made or it's made in Cork or wherever it's coming from, that it's Irish made.Máirín Walsh: We have, what have we got? We've kind of got scarves and that and we have local— we had candles a few years ago actually. I think they were made or... up the country or whatever. But anyway, it was at Reginald's Tower and there were different kinds of candles of different attractions around and they really connected with your audience.Michael  Dolan: So 20% of our turnover would be food and all that is made in Ireland. Virtually all of that is sourced locally here in Ireland. And that's a very important part of our overall product portfolio and growing as well.Paul Marden: Is it important to serve different audiences with the right product? So I'm thinking... Making sure that there's pocket money items in there for kids, because often when they come to a museum or attraction, it's their first time they ever get to spend their own money on a transaction. Yeah, that would be their first memory of shopping. So giving them what they need, but at the same time having that 25 euro and over price point. To have a real set piece item is?Jennifer  Kennedy: I would say that's very specific to the brand. Paul Marden: Really? Jennifer  Kennedy: Yes, because some brands can't actually sell products or shouldn't be selling products to children. Paul Marden: Really? I'm looking at the Guinness items at the end of the table.Jennifer  Kennedy: So it depends on the brand. So obviously, in many of the destinations around Ireland, some of them are quite heavily family-oriented. And absolutely in those environments where you've got gardens, playgrounds or theme parks. Absolutely. You have to have that range of product that's very much tailored to young families and children. In other environments, not necessarily. But you still need to have a range that appeals to the masses. Because you will have visitors from all walks of life and with all perspectives. So it's more about having something. I'm going to keep bringing it back to it. It's specific to why this brand is here. And if you can create product within a fair price point, and Mairin is absolutely right. The balance of how much your products cost to the consumer will make or break how your retail performs. And in most destinations, what you're actually aiming to do is basket size. You want them to go away with three, four, five products from you, not necessarily one.Jennifer  Kennedy: Because if you think about it, that's more beneficial for the brand. I mean, most people are buying for gifting purposes. They're bringing things back to multiple people. So, if I'm able to pick up a nice candle and it's eight or 10 euros, well, I might buy three of them if it's a beautiful candle in a nice package. Whereas, if I went in and the only option available to me was a 35-euro candle, I probably might buy that, but I'm only buying one product. And I'm only giving that to either myself or one other person. Whereas, if you can create a range that's a good price, but it's also appealing and very connected to why they came to visit you in the first place, then that's a much more powerful, for the brand point of view, that's a much more... Powerful purchasing options are available to have a basket size that's growing.Michael  Dolan: We worked together in the National Stud in Kildare, so we did a great kids range of stationery, which worked really well. We've just done a new range for the GAA museum, all stationery-related, because they get a lot of kids. Again, we would have collaborated on that.Jennifer  Kennedy: And actually, the natural studs are a really nice example as well, because from even a textile point of view, you can lean into equine as the, so you can do beautiful products with ponies and horses. Yeah. You know, so again, some brands make it very, it's easy to see the path that you can take with product. And then others are, you know, you have to think harder. It's a little bit more challenging. So, and particularly for cultural and heritage sites, then that really has to be grounded in what are the collections, what is on offer in these sites, in these museums, in these heritage sites, and really start to unravel the stories that you can turn into product.Paul Marden: But a product isn't enough, is it?Jennifer  Kennedy: Absolutely not.Paul Marden: Set making, merchandising, storytelling, they all engage the customer, don't they?Jennifer  Kennedy: 100%.Paul Marden: Where have you seen that being done well in Ireland?Michael  Dolan: Get a store is the preeminent example, I would think. I mean, it's a stunning shop. Have you met Catherine too? Paul Marden: No, not yet. Lovely to meet you, Catherine.  Michael  Dolan: Catherine is in charge of getting the stories. Paul Marden: Okay. Any other examples that aren't, maybe, sat at the table? Game of Thrones is a really good example and Titanic.Michael  Dolan: Game of Thrones.  I think Titanic's good. The new shop in Trinity College is very strong, I think. So it's a temporary digital exhibition while they're revamping the library. They've done an excellent job in creating a wonderful new shop, even on a temporary basis.Jennifer  Kennedy: I would say Crowe Park as well. The GAA museum there has undergone a full refurbishment and it's very tailored towards their audience. So they're very, it's high volume, very specific to their... And the look and feel is very much in keeping with the nature of the reason why people go to Crowe Park. I would say the Irish National Asteroid as well. And Colmar Abbey, Cliffs of Moher. We've got some really great offers all over the island of Ireland.Paul Marden: Yeah, absolutely. I was at W5 recently in Belfast and I think that is a brilliant example of what a Science Centre gift shop could be like. Because often there will be the kind of generic stuff that you'll see in any attraction— a notebook with rubber and a pencil— but they also had lots of, there were lots of science-led toys and engineering-led toys, so they had... big Lego section. It was like going into a proper toy shop. It was just a really impressive gift shop that you could imagine engaging a kid.Catherine Toolan: And if I could come in there for an example outside of Ireland, you've got the House of Lego in Billund. I don't know if anybody has been there, but they've got a customised range, which is only available. Really? Yes, and it's so special. They've got a really unique building, so the Lego set is in the shape of the building. They've got their original dock. But the retail store in that space, it's very geared towards children as Lego is, but also imagination play. So they've done a brilliant job on looking at, you know, the texture of their product, the colour of their product. And whilst it's usually geared to children, it's also geared to adult lovers of Lego. So it's beautiful. Huge tech as well. They've incredible RFID wristbands, which you get from your ticket at the beginning of the experience. So all of your photo ops and everything you can download from the RFID wristband. Very cool.Jennifer  Kennedy: Actually, I would say it's probably from a tech point of view, one of the best attractions I've been to in recent years. Like, it's phenomenal. I remember going there the year it opened first because it was fascinating. I have two boys who are absolutely Lego nuts. And I just— we went to the home of LEGO in Billund when it opened that year and I just was blown away. I had never experienced, and I go to experiences everywhere, but I've never, from a tech point of view and a brand engagement perspective, understood the nature, the type of product that they deliver. For me, it's, like I said, I tell everyone to go to Billund. Paul Marden: Really? We've got such amazing jobs, haven't we? However, as you're both talking, I'm thinking you're a bit like me. You don't get to go and enjoy the experience for the experience's own sake because you're looking at what everybody's doing.Jennifer  Kennedy: But can I actually just add to that? There's another one in the Swarovski Crystal in Austria.Paul Marden: Really?Jennifer  Kennedy: That is phenomenal. And in terms of their retail space, it's like, I like a bit of sparkle, so I'm not going to lie. It was like walking into heaven. And their retail offering there is world-class in that store. And the whole brand experience from start to finish, which is what you're always trying to achieve. It's the full 360 of full immersion. You're literally standing inside a giant crystal. It's like being in a dream. Right. A crystal, sparkly dream from start to finish. And then, every year, they partner and collaborate with whoever— designers, musicians, whoever's iconic or, you know, very... present in that year or whatever. And they do these wonderful collaborations and partnerships with artists, designers, you name it.Paul Marden: Sorry, Catherine, there you go.Catherine Toolan: Thank you very much. It's on my list of places to go, but I do know the team there and what they're also doing is looking at the premiumization. So they close their retail store for high net worth individuals to come in and buy unique and special pieces. You know, they use their core experience for the daytime. And we all talk about the challenges. I know, Tom, you talk about this, you know, how do you scale up visitor experience when you're at capacity and still make sure you've a brilliant net promoter score and that the experience of the customer is fantastic. So that is about sweating the acid and you know it's that good, better, best. You know they have something for everybody but they have that halo effect as well.  So it's really cool.Paul Marden: Wow. Thank you. I'm a bit of a geek. I love a bit of technology. What do you think technology is doing to the gift shop experience? Are there new technologies that are coming along that are going to fundamentally change the way the gift shop experience works?Jennifer  Kennedy: I think that's rooted in the overall experience. So I don't think it's a separate piece. I think there's loads of things out there now where you can, you know, virtual mirrors have been around for years and all these other really interesting. The whole gamification piece, if you're in an amazing experience and you're getting prompts and things to move an offer today, but so that's that's been around for quite some time. I'm not sure that it's been fully utilised yet across the board, especially in I would say there's a way to go in how it influences the stores in Ireland in attractions at the moment. There'll be only a handful who I'd say are using technology, mainly digital screens, is what I'm experiencing and seeing generally. And then, if there is a big attraction, some sort of prompts throughout that and how you're communicating digitally through the whole experience to get people back into the retail space. Paul Marden: Yeah, I can imagine using tech to be able to prompt somebody at the quiet times of the gift shop. Michael  Dolan: Yeah, also Guinness now you can order a pint glass with your own message on it in advance. It's ready for you when you finish your tour. You go to a locker and you just open the locker and you walk out with your glass. Catherine Toolan: Could I just say, though, that you just don't open a locker like it's actually lockers? There's a lot of customisation to the lockers because the idea came from the original Parcel Motel. So the locker is actually you key in a code and then when you open the customised locker, there's a Guinness quote inside it and your personalised glass is inside it. And the amount of customers and guests that we get to say, could we lock the door again? We want to actually open it and have that. whole experience so you know that's where I think in you know and one of the questions that would be really interesting to talk about is you know, what about self-scanning and you know, the idea of checkouts that are not having the human connection. Is that a thing that will work when you've got real experiences? I don't know. But we know that the personalisation of the engraved glasses and how we've custom designed the lockers— not to just be set of lockers— has made that difference. So they're very unique, they're colourful, they're very Guinnessified. And of course, the little personal quote that you get when you open the locker from our archives, make that a retail experience that's elevated. Paul Marden: Wow.Jennifer  Kennedy: But I would also say to your point on that, that the actual, the real magic is also in the people, in the destinations, because it's not like gift shops and destinations and experiences. They're not like high street and they shouldn't be. It should be a very different experience that people are having when they've paid to come and participate with you in your destination. So I actually think technology inevitably plays a role and it's a support and it will create lovely quirks and unusual little elements throughout the years.Paul Marden: I think personalisation is great.  Jennifer  Kennedy: And personalisation, absolutely. But the actual, like I would be quite against the idea of automating checkout and payouts in gift shops, in destinations, because for me... That takes away the whole essence of the final touch point is actually whoever's talked to you when you did that transaction and whoever said goodbye or asked how your experience was or did you enjoy yourself? So those you can't you can't replace that with without a human personal touch. So for me, that's intrinsically important, that it has to be retained, that the personal touch is always there for the goodbye.Dean Kelly: I'm very happy that you brought up the human touch. I'm a photo company, I do pictures. And all the time when we're talking to operators, they're like, 'Can we make it self-serve? Can we get rid of the staffing costs?' I'm like, 'I'm a photographer. Photographers take pictures of people. We need each other to engage, react, and put the groups together. No, we don't want the staff costs. But I'm like, it's not about the staff costs. It's about the customer's experience. So all day long, our challenge is, more so in the UK now, because we operate in the UK, and everybody over there is very, we don't want the staff.' And I think, if you lose the staff engagement, especially taking a picture, you lose the memory and you lose the moment. And photographers have a really good job to do, a very interesting job, is where to capture people together. And if you lose that person— touch point of getting the togetherness— You just have people touching the screen, which they might as well be on their phone.Paul Marden: And the photo won't look as good, will it? Anybody could take a photo, but it takes a photographer to make people look like they're engaged and happy and in the moment.Dean Kelly: Yeah, exactly, and a couple of other points that you mentioned— with the brand, personalisation, gamification, all that kind of cool, juicy stuff, all the retail stuff, people going home with the memory, the moment, all that stuff's cool, but nobody mentioned photos until Cashin, you mentioned photos. We've had a long conversation with photos for a long time, and we'll probably be still chatting for another long time as well. But photography is a super, super retail revenue stream. But it's not about the revenue, it's about the moment and the magic. Jennifer  Kennedy: Yeah, you're capturing the magic. Dean Kelly: Capturing it. And fair enough that what you guys do at Shamrock is very interesting because you talk to the operators. You kind of go, 'What gifts are going to work for your visitors?' And you turn that into a product. And that's exactly what we do with all the experiences. We take pictures.Dean Kelly: But what's your demographic saying? What's your price points? What's your brand? What's your message? And let's turn that into a personalised souvenir, put the people in the brand, and let them take it home and engage with it.Paul Marden: So... I think one of the most important things is how you blend the gift shop with the rest of the experience. You were giving a good example of exiting through the gift shop. It's a very important thing, isn't it? But if you put it in the wrong place, you don't get that. How do you blend the gift shop into the experience?Jennifer  Kennedy: Well, I would say I wouldn't call it a blend. For me, the retail element of the brand should be a wow. Like it should be as invaluable, as important as everything else. So my perspective would be get eyes on your retail offering sooner rather than later. Not necessarily that they will participate there and then.Jennifer  Kennedy: The visual and the impact it has on seeing a wow— this looks like an amazing space. This looks like with all these products, but it's also— I was always chasing the wow. I want you to go, wow, this looks amazing. Because, to me, that's when you've engaged someone that they're not leaving until they've gotten in there. It is important that people can potentially move through it at the end. And, you know, it depends on the building. It depends on the structure. You know, a lot of these things are taken out of your hands. You've got to work with what you've got. Jennifer  Kennedy: But you have to work with what you've got, not just to blend it, to make it stand out as exceptional. Because that's actually where the magic really starts. And it doesn't matter what brand that is. The aim should always be that your retail offering is exceptional from every touch point. And it shouldn't be obvious that we've spent millions in creating this wonderful experience. And now you're being shoehorned into the poor relation that was forgotten a little bit and now has ten years later looks a bit ramshackle. And we're trying to figure out why we don't get what we should out of it.Michael  Dolan: And it has to be an integral part of the whole experience.Jennifer  Kennedy: Yeah, and I think for new experiences that are in planning stages, I've seen that more and more in recent years. Now, where I was being called to retrofix or rip out things going, this doesn't work, I'm like, okay, well, we have to retro do this. Now, when people are doing new builds or new investments into new spaces, I'm getting those calls at the planning stages where it's like, we've allocated this amount of space to retail. Do you think that's enough? And I don't think I've ever said yes, ever. At every single turn, I'm like... No, it's not enough. And, you know, what's your anticipated football? Oh, that's the numbers start to play a role in it. But it's not just about that. It's about the future proofing. It's like what happens in five years, 10 years, 15? Because I've been very lucky to work in buildings where it's not easy to figure out where you're going to go next. And particularly heritage sites and cultural heritage. Like I can't go in and knock a hole in the crypt in Christchurch Cathedral. But I need a bigger retail space there.Jennifer  Kennedy: The earlier you start to put retail as a central commercial revenue stream in your business, the more eyes you have on it from the get-go, the more likely it is that it will be successful. Not now, not in five years, not in ten years, but that you're building blocks for this, what can become. Like it should be one of your strongest revenue streams after ticket sales because that's what it can become. But you have to go at it as this is going to be amazing.Catherine Toolan: I think it's important that it's not a hard sell and that's in your face. And, you know, that's where, when you think about the consumer journey, we always think about the behavioural science of the beginning, the middle, and the end. And people remember three things. You know, there's lots of other touch points. But if retail is a really hard sell throughout the experience, I don't think the net promoter score of your overall experience will, you know, come out, especially if you're, you know, and we're not a children's destination. An over 25 adult destination at the Guinness Storehouse and at our alcohol brand homes. But what's really important is that it's authentic, it's really good, and it's highly merchandised, and that it's unique. I think that uniqueness is it— something that you can get that you can't get anywhere else. You know, how do you actually, one of the things that we would have done if we had it again, we would be able to make our retail store available to the domestic audience, to the public without buying a ticket. So, you know, you've got that opportunity if your brand is the right brand that you can have walk-in off the high street, for example.Catherine Toolan: So, you know, there's so many other things that you can think about because that's an extension of your revenue opportunity where you don't have to come in to do the whole experience. And that is a way to connect the domestic audience, which is something I know a lot of the members of the Association, AVEA are trying to do. You know, how do we engage and connect and get repeat visits and and retail is a big opportunity to do that, especially at gifting season.Paul Marden: Yeah, yeah, sustainability is increasingly important to the narrative of the whole retail experience, isn't it? How do you make sure that we're not going about just selling plastic tat that nobody's going to look after?Michael  Dolan: We've made this a core value for Shamrock Gift Company, so we've engaged with a company called Clearstream Solutions, the same company that Guinness Store has. have worked with them. So it's a long-term partnership. So they've measured our carbon footprint from 2019 to 2023. So we've set ourselves the ambitious target of being carbon neutral by 2030.Michael  Dolan: So just some of the elements that we've engaged in. So we put 700 solar panels on our roof as of last summer. All our deliveries in Dublin are done with electric vans, which we've recently purchased. All the lights in the building now are LED. Motion-sensored as well. All the cars are electric or that we've purchased recently, and we've got a gas boiler. So we've also now our shipments from China we're looking at biodiesel. So that's fully sustainable. And we also, where we can't use biodiesel, we're doing carbon offsetting as well.Paul Marden: So a lot of work being done in terms of the cost of CO2 of the transport that you're doing. What about the product itself? How do you make sure that the product itself is inherently something that people are going to treasure and is not a throwaway item?Michael  Dolan: We're using more sustainable materials, so a lot more stone, a lot more wood. Paul Marden: Oh, really? Michael  Dolan: Yeah. Also, it begins with great design. Yeah. So, you know, and obviously working with our retail partners, make sure that the goods are very well designed, very well manufactured. So we're working with some wonderful, well, best in class manufacturers around the world. Absolutely.Jennifer  Kennedy: I think as well, if... you can, and it's becoming easier to do, if you can collaborate with some creators and makers that are actually within your location.Jennifer  Kennedy: Within Ireland, there's a lot more of that happening, which means sourcing is closer to home. But you also have this other economy that's like the underbelly of the craft makers market in Ireland, which is fabulous, which needs to be brought to the fore. So collaborations with brands can also form a very integral part of product development that's close to home and connected to people who are here—people who are actually creating product in Ireland.Paul Marden: This is just instinct, not knowledge at all. But I would imagine that when you're dealing with those local crafters and makers, that they are inherently more sustainable because they're creating things local to you. It's not just the distance that's...Jennifer  Kennedy: Absolutely, but in any instances that I'm aware of that I've been involved with, anyway, even the materials and their mythology, yeah, is all grounded in sustainability and which is fabulous to see. Like, there's more and there's more and more coming all the time.Michael  Dolan: We've got rid of 3 million bags a year. Key rings, mags used to be individually bagged. And now there are 12 key rings in a bag that's biodegradable. That alone is 2 million bags.Paul Marden: It's amazing, isn't it? When you look at something as innocuous as the bag itself that it's packaged in before it's shipped out. You can engineer out of the supply chain quite a lot of unnecessary packaging Michael  Dolan: And likewise, then for the retailer, they don't have to dispose of all that packaging. So it's a lot easier and cleaner to put the product on the shelf. Yes.Paul Marden: Something close to my heart, online retail. Have you seen examples where Irish attractions have extended their gift shop experience online, particularly well?Jennifer  Kennedy: For instance, there are a few examples, but what I was thinking more about on that particular thought was around the nature of the brand again and the product that, in my experience, the brands that can do that successfully tend to have something on offer that's very nostalgic or collectible. Or memorabilia and I think there are some examples in the UK potentially that are where they can be successful online because they have a brand or a product that people are collecting.Paul Marden: Yeah, so one of my clients is Jane Austen House, only about two miles away from where I live. And it blew me away the importance of their online shop to them. They're tiny. I mean, it is a little cottage in the middle of Hampshire, but they have an international audience for their gift shop. And it's because they've got this really, really committed audience of Jane Austen fans who want to buy something from the house. Then everybody talks about the Tank Museum in Dorset.Paul Marden: Who make a fortune selling fluffy tank slippers and all you could possibly imagine memorabilia related to tanks. Because again, it's that collection of highly curated products and this really, really committed audience of people worldwide. Catherine Toolan: The Tank were here last year presenting at the AVEA conference and it was such an incredible story about their success and, you know, how they went from a very small museum with a lot of support from government to COVID to having an incredible retail store, which is now driving their commercial success.Paul Marden: Yeah, absolutely. Nick has done a load of work. Yeah, that leads me nicely onto a note. So listeners, for a long time, Skip the Queue has been totally focused on the podcast. But today we have launched our first playbook. Which is hopefully the first of many. But the playbook that we're launching today is all about how attractions can focus on best practice for gift shop e-commerce. So we work with partners, Rubber Cheese, Navigate, and Stephen Spencer Associates. So Steve and his team has helped us to contribute to some sections to the guide around, how do you curate your product? How do you identify who the audience is? How do you create that collection? The team at Rubber Cheese talk about the mechanics of how do you put it online and then our friends at Navigate help you to figure out what the best way is to get bums on seats. So it was a crackpot idea of mine six months ago to put it together, and it is now huge.Paul Marden: It's packed full of advice, and that's gone live today. So you can go over to skipthequeue.fm and click on the Playbooks link there to go and download that. Thank you. So, Jennifer, Michael, it has been absolutely wonderful to talk to both of you. Thank you to my audience. You've also been fabulous. Well done. And what a packed episode that was. I get the feeling you two quite enjoy gift shops and retailing. You could talk quite a lot about it.Jennifer  Kennedy: I mean, I love it.  Paul Marden: That didn't come over at all. Jennifer  Kennedy: Well, I just think it's such a lovely way of connecting with people and keeping a connection, particularly from a brand point of view. It should be the icing on the cake, you know?Paul Marden: You're not just a market store salesperson, are you?Jennifer  Kennedy: And I thoroughly believe that the most successful ones are because the experiences that they're a part of sow the seeds. They plant the love, the emotion, the energy. All you're really doing is making sure that that magic stays with people when they go away. The brand experience is the piece that's actually got them there in the first place. Paul Marden: Now let's go over to the conference floor to hear from some Irish operators and suppliers.Charles  Coyle: I'm Charles Coyle. I'm the managing director of Emerald Park. We're Ireland's only theme park and zoo. We opened in November 2010, which shows you how naive and foolish we were that we opened a visitor attraction in the middle of winter. Fortunately, we survived it.Paul Marden: But you wouldn't open a visitor attraction in the middle of summer, so give yourself a little bit of a run-up to it. It's not a bad idea.Charles  Coyle: Well, that's true, actually. You know what? I'll say that from now on, that we had the genius to open in the winter. We're open 15 years now, and we have grown from very small, humble aspirations of maybe getting 150,000 people a year to we welcomed 810,000 last year. And we'll probably be in and around the same this year as well.  Paul Marden: Wowzers, that is really impressive. So we are here on the floor. We've already heard some really interesting talks. We've been talking about AI in the most recent one. What can we expect to happen for you in the season coming in?Charles  Coyle: Well, we are hopefully going to be integrating a lot of AI. There's possibly putting in a new booking system and things like that. A lot of that will have AI dynamic pricing, which has got a bad rap recently, but it has been done for years and years in hotels.Paul Marden: Human nature, if you ask people, should I be punished for travelling during the summer holidays and visiting in a park? No, that sounds terrible. Should I be rewarded for visiting during a quiet period? Oh, yes! Yes, I should definitely. It's all about perspective, isn't it? Very much so. And it is how much you don't want to price gouge people. You've got to be really careful. But I do think dynamic pricing has its place.Charles  Coyle: Oh, absolutely. I mean, a perfect example of it is right now, our top price is not going to go any higher, but it'll just be our lower price will be there more constantly, you know, and we'll... Be encouraging people to come in on the Tuesdays and Wednesdays, as you said, rewarding people for coming in at times in which we're not that busy and they're probably going to have a better day as a result.Susanne Reid: Hi, Suzanne Reid here. I'm the CEO at Christchurch Cathedral, Dublin. What are you here to get out of the conference? First and foremost, the conference is a great opportunity every year to... catch up with people that you may only see once a year from all corners of the country and it's also an opportunity to find out what's new and trending within tourism. We've just come from a really energising session on AI and also a very thought-provoking session on crisis management and the dangers of solar panels.Paul Marden: Yes, absolutely. Yeah, the story of We the Curious is definitely an interesting one. So we've just come off the back of the summer season. So how was that for you?Susanne Reid:Summer season started slower than we would have liked this year in 2025, but the two big American football matches were very strong for us in Dublin. Dublin had a reasonable season, I would say, and we're very pleased so far on the 13th of the month at how October is playing out. So hoping for a very strong finish to the year. So coming up to Christmas at Christchurch, we'll have a number of cathedral events. So typically our carol concerts, they tend to sell out throughout the season. Then we have our normal pattern of services and things as well.Paul Marden: I think it's really important, isn't it? You have to think back to this being a place of worship. Yes, it is a visitor attraction. Yes, that's an aside, isn't it? And the reason it is a place of worship.Susanne Reid: I think that's obviously back to what our earlier speaker was talking about today. That's our charitable purpose, the promotion of religion, Christianity. However, you know, Christchurch is one of the most visited attractions in the city.Susanne Reid: Primarily, people do come because it will be there a thousand years in 2028. So there is, you know, the stones speak really. And, you know, one of the sessions I've really benefited from this morning was around accessible tourism. And certainly that's a journey we're on at the cathedral because, you know, a medieval building never designed for access, really. Paul Marden: No, not hugely. Susanne Reid: Not at all. So that's part of our programming and our thinking and our commitment to the city and to those that come to it from our local communities. But also from further afield, that they can come and enjoy the splendour of this sacred space.Paul Marden: I've been thinking long and hard, and been interviewing people, especially people like We The Curious, where they're coming into their 25th anniversary. They were a Millennium Project. I hadn't even thought about interviewing an attraction that was a thousand years old. A genuine millennium project.Susanne Reid: Yeah, so we're working towards that, Paul. And, you know, obviously there's a committee in-house thinking of how we might celebrate that. One of the things that, you know, I know others may have seen elsewhere, but... We've commissioned a Lego builder to build a Lego model of the cathedral. There will obviously be some beautiful music commissioned to surround the celebration of a thousand years of Christchurch at the heart of the city. There'll be a conference. We're also commissioning a new audio tour called the ACE Tour, Adults, Children and Everyone, which will read the cathedral for people who have no sense of what they're looking at when they maybe see a baptismal font, for example. You know, we're really excited about this and we're hoping the city will be celebratory mood with us in 2028.Paul Marden: Well, maybe you can bring me back and I'll come and do an episode and focus on your thousand year anniversary.Susanne Reid: You'd be so welcome.Paul Marden: Oh, wonderful. Thank you, Suzanne.Paul Marden: I am back on the floor. We have wrapped up day one. And I am here with Ray Dempsey from Jameson Distillery. Ray, what's it been like today?Ray  Dempsey: Paul, it's been a great day. I have to say, I always loved the AVEA conference. It brings in such great insights into our industry and into our sector. And it's hosted here in Waterford, a city that I'm a native of. And, you know, seeing it through the eyes of a tourist is just amazing, actually, because normally I fly through here. And I don't have the chance to kind of stop and think, but the overall development of Waterford and the presentation from the Waterford County Council was really, really good. It's fantastic. They have a plan. A plan that really is driving tourism. Waterford, as a tourist destination, whereas before, you passed through Waterford. It was Waterford Crystal's stop and that was it. But they have put so much into the restoration of buildings, the introduction of lovely artisan products, very complimentary to people coming to here, whether it is for a day, a weekend, or a week. Fantastic.Paul Marden: What is it? We're in the middle of October and it's a bit grey and drizzly out there. But let's be fair, the town has been packed. The town has been packed.With coaches outside, so my hotel this morning full of tourists.Ray  Dempsey: Amazing, yeah it's a great hub, a great hub, and they've done so much with the city to enable that, and you see, as you pass down the keys, you know that new bridge there to enable extra traffic coming straight into the heart of the city, it's fantastic. We're all learning from it, and hopefully, bring it all back to our own hometowns.Paul Marden: I think it's been really interesting. We were talking earlier on, before I got the microphone out, saying how it's been a real mixed bag this year across the island of Ireland, hasn't it? So some people really, really busy, some people rubbish year.Ray  Dempsey: Yeah, I mean, I feel privileged the fact that, you know, we haven't seen that in Dublin. So, you know, there's a it's been a very strong year, a little bit after a little bit of a bumpy start in January, February. But, like, for the rest of the year onwards, it's been fantastic. It's been back to back festivals and lots of things, lots of reasons why people come to Dublin. And, of course, with the introduction of the NFL. That's new to us this year. And hopefully, we'll see it for a number of years to come. But they're great builders for organic growth for our visitor numbers. So I'm happy to say that I'm seeing a growth in both revenue and in visitor numbers in the Jameson Distillery. So I'm happy to see that. Now, naturally, I'm going to have to work harder to make sure it happens next year and the year after. But I'm happy to say that the tourism product in Dublin has definitely improved. And Dublin-based visitor attractions are doing well. Paul Marden: Exciting plans for summer 26? Ray  Dempsey: Yes, every year is exciting, Paul. And every year brings a challenge and everything else. But I'm delighted to say that our focus for 2026 really is on building inclusion. So we're looking at language tours.Ray  Dempsey: We're looking at tours for... you know, margins in society. And I think it's a really interesting way for us to be able to embrace accessibility to our story. And also, we have increased our experience repertoire to engage more high-end experiences, not private experiences. More demand for those. Okay. So we're delighted to say that we have the product in order to be able to do that. So that's exciting for us, you know, to be building into 2026. Great. Paul Marden: Thank you so much for joining us. I am the only thing standing in the way of you and a drink at the cocktail reception later on. So I think we should call it quits. Ray  Dempsey: And for sure. Paul Marden: If you enjoyed today's episode, then please like and comment in your podcast app. It really does help others to find us. Today's episode was written by me, Paul Marden, with help from Emily Burrows from Plaster. It was edited by Steve Folland and produced by Wenalyn Dionaldo. See you next week. The 2025 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsTake the Rubber Cheese Visitor Attraction Website Survey Report

In this episode of Exploring Art Podcast, FIUstudents look closely at one of the most talked-about works of contemporary art: Carl Andre's Equivalent VIII, which is better known as "Pile of Bricks." Join Christal, Ethan, and Emily as they talk about whether this simple piece of art belongs in the Tate Gallery. We look at the effects, repercussions, and legacy of Andre's work, from public indignation to changes in how people think about art. Is it a work of art or just a pile of bricks? You make the choice.

In Podcast Task 3, Lorena Vazquez, Katherine Marino, and Alec Aguiar explored every aspect of Carl Andre's Equivalent VIII piece from 1966, often called the “Pile of Bricks.” Andre's piece is a minimalist sculpture made of 120 firebricks stacked side-by-side in a perfect rectangle. Andre's 1966 sculpture sparked national debate, as many people thought it wasn't real art; however over time, it became respected for challenging traditional ideas about materials, beauty, and meaning in modern art. Like other minimalist works, it uses industrial objects and focuses on shape, weight, and space rather than emotional intensity. Andre's goal wasn't to shock but to make people see familiar materials differently and to question what art can be. Since the Tate Gallery bought it, they've preserved it by following Andre's wishes for the piece. Since its creation, Andre's sculpture has influenced many artists by demostrating how a single art piece can change the art scene to think more critically and creatively.

Bassist Gina Birch is a founding member of the legendary British post-punk band the Raincoats, whose self-titled 1977 debut album is an off-kilter classic. More Raincoats albums followed, as did stints with Dorothy and the Hangovers, but it wasn't until 2023 that Birch released her first solo album, the acclaimed I Play My Bass Loud. Now she's made Trouble, which again draws on dub, reggae and electronica textures while exploring the intersection of art and the often-troublesome outside world. Birch is fierce, funny and down-to-earth as she tells how she approaches and creates her art, which includes painting, filmmaking and an appearance in the Tate Gallery's “Women in Revolt!” exhibition in London last year. She also reflects on Kurt Cobain's Raincoats fandom—and his death a week before the Raincoats were slated to open Nirvana' 1994 UK tour—and the power of female artists “Making Trouble Again.” (Photo by Dean Chalkley.)

What makes a simple stack of bricks a revolutionary work of art? In this episode of Exploring Art Podcast, hosts Peta-Gaye and Romny dive deep into Carl Andre's Pile of Bricks and uncover how this minimalist piece challenges the very definition of art. Join us as we discuss the controversy, symbolism, and lasting impact of this work, exploring why a pile of industrial firebricks became one of the most debated artworks of the 20th century. Was it genius or just construction debris? Why did the Tate Gallery see value in it? And how has this work shaped contemporary art today? Tune in for a fascinating conversation where we break down Minimalism, conceptual art, and the power of simple materials in shaping artistic expression. Don't miss this engaging discussion that will change the way you see everyday objects!  Hosted by Peta-Gaye & Romny – Stay curious!

Die Themse hat London groß gemacht. Kein Wunder also, dass noch heute die wichtigsten Sehenswürdigkeiten der Stadt an ihren Ufern liegen. Welche das sind und was sie so besonders macht, das erzählen dir die beiden Hosts dieses plazy-Podcasts, Kathrin Sander und Inka Schmeling, wie immer in unter 10 Minuten. Und besonders ein echtes London-Highlight erkunden die beiden länger: die Tate Gallery of Modern Art, kurz: Tate Modern. Höre, welche Kunstwerke du hier nicht verpassen solltest!

John Wilson on Nikki Giovanni, a leading poet in the 1960s Black Arts Movement who is hailed as one of the most important artist-intellectuals of the 20th century.Gerd Heidemann, the German journalist who found himself at the centre of one of the greatest journalist scandals of the 20th century, the Hitler diaries hoax.Cherry Hill, the award-winning model engineer who created detailed, functioning scaled-down models of Victorian traction engines.Sir Richard Carew Pole, the aristocrat who was a driving force behind the creation of Cornwall's Eden Project and Tate St Ives. Producer: Ed PrendevilleArchive: Industrial Nation, BBC Two, 2003; Heidemann arrested, BBC News, 1983; Forged Hitler diaries, Newsnight, BBC Two, 1985; Nikki Giovanni, Front Row, BBC Radio 4, 2024; Nihal Arthanayake: Sara Cox and Nikki Giovanni, BBC Radio 5 Live, 2024; Going to Mars: The Nikki Giovanni Project, HBO, 2023; Nikki Giovanni and James Baldwin: A Conversation, Soul!, 1971, Uploaded to Youtube 09.09.2022; The Black Woman, Stan Lathan, Indiana University Libraries Moving Image Archive, 1970, Uploaded to Youtube 30.09.2017; Nikki Giovanni Interviewed And Reads "Revolutionary Dreams"- February 1974, SMU Jones Film, Uploaded to Youtube 11.10.2023; Opening of the new Tate Gallery in St Ives, Cornwall, The Late Show, BBC, 1993; Prince of Wales officially opens new Tate Gallery in St Ives, Cornwall, BBC News, 1993; Upcoming opening of the Eden Project, BBC News, 2001; The Karen Hunter Show, SiriusXM Urban View (1993), Internet Archive, 12/05/2017

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  

“I'm a nice guy, really!” laughs Gregory Green. The artist and pacifist teaches at The University of South Florida and is internationally known for his 3D installations of realistic bomb-making workshops and nuclear missiles. It's art with a political edge and educational aim, seeking to spur conversations about violence - and alternatives to violence - and exploring how information and technology are tools of social change. Gregory Green shares the theatricality behind his work, which includes more than a dozen fully-functional pirate radio and TV stations in the US and Europe, his “Gregnik” re-creation of the first Earth satellite and a three-stage booster rocket that's ready to launch if you've got the rocket fuel. Green tells of wrangling with the bomb squad, designing an installation for filmmaker John Waters' home, and how he was rated one of the Top 100 Artists in the World before 9/11, and how after 9/11 artwork about violence suddenly became much harder. Green's work is included in major public and private collections, including among others the Museum of Contemporary Art Los Angeles, the Tate Gallery in London, the Museum of Modern Art, the Whitney Museum of American Art, the Mori Museum in Tokyo and MAMCO Geneva. Explore Gregory Green's work here - http://gregory-green.com/home.html And his incredible resume - http://s3.otherpeoplespixels.com/sites/33374/gregory-green.com-1445104004.pdf Arts In is produced by Matt and Sheila Cowley. Executive Producer, Barbara St. Clair for Creative Pinellas.

On this interview Katie chats with her husband Chris who decided to take the plunge and switch back to a flip phone. We talk about how it's going, what he loves about it, and the genuine inconveniences he has to put up with (and why it's still worth it). We have a far reaching conversation on smartphones, memory, technology generally, the role of physicality, time, friendship, community, and independent thought.    Come to Ireland with me in October 2024!  www.bornofwonder.com  www.mediamarqcreative.com Born of Wonder Substack    *Photo Katie+Chris, circa 2012, Tate Gallery, Study Abroad

What's it like to own a castle in England? This week we talk to Peter Frost-Pennington, husband of the owner of Muncaster Castle in Cumbria, England. He shares the history and attractions of the castle. The castle is located in the Lake District National Park and is known for its strategic location on the coast and its connection to the Roman Empire. The castle has been in the Pennington family for over 800 years and has been open to the public as a tourist attraction since 1968. The castle also houses the Hawk and Owl Centre, which specializes in owls and other birds of prey. The castle is also famous for the 'Luck of Muncaster,' a Venetian glass bowl given to the family by King Henry VI as a symbol of protection. Muncaster Castle is a living legend with a rich history and connection to the UK's heritage. During World War II, the castle served as a safekeeping place for Britain's national art treasures. The castle is also known for its diverse habitats and wildlife conservation efforts, including the preservation of endangered species like vultures. The castle has American connections, with John Paul Jones spiking cannons in the nearby port of Whitehaven during the American War of Independence. Muncaster Castle is also famous for its ghosts, including a crying child, a white lady, and Thomas Skelton, the Fool of Moncaster. Join us as we explore all this fascinating history and get a portrait of what it's like to live in a castle in the modern age! Links Muncaster Castle Official Website My Visit to Muncaster in 2018 Ravenglass and Eskdale Railway Lake District National Park Visit Cumbria Takeaways Muncaster Castle is a medieval castle located in Cumbria, England, on the edge of the Lake District National Park. The castle has been in the Pennington family for over 800 years and has been open to the public as a tourist attraction since 1968. The castle is known for its strategic location on the coast and its connection to the Roman Empire. The castle houses the Hawk and Owl Centre, which specializes in owls and other birds of prey. The 'Luck of Muncaster' is a Venetian glass bowl given to the family by King Henry VI as a symbol of protection. Muncaster Castle served as a safekeeping place for Britain's national art treasures during World War II. The castle is known for its diverse habitats and wildlife conservation efforts, including the preservation of endangered species like vultures. Muncaster Castle has American connections, with John Paul Jones spiking cannons in the nearby port of Whitehaven during the American War of Independence. The castle is famous for its ghosts, including a crying child, a white lady, and Thomas Skelton, the Fool of Muncaster. Sound Bites "Muncaster Castle is a fabulously romantic and very strategic place." "Muncaster Castle is recognized as the start of the Hadrianic or the Roman frontier." "The Pennington family originally lived in the Roman bathhouse, which is now part of the castle." "Well, it's a lovely, it's a living legend and that's what makes this place so special." "We've actually got a lock of his hair in this very room." "We got the contents of the Tate Gallery. And we've had a local gentleman who's done a lot of research on this lately and found a lot more that we didn't

What's it like to own a castle in England? This week we talk to Peter Frost-Pennington, husband of the owner of Muncaster Castle in Cumbria, England. He shares the history and attractions of the castle. The castle is located in the Lake District National Park and is known for its strategic location on the coast and its connection to the Roman Empire. The castle has been in the Pennington family for over 800 years and has been open to the public as a tourist attraction since 1968. The castle also houses the Hawk and Owl Centre, which specializes in owls and other birds of prey. The castle is also famous for the 'Luck of Muncaster,' a Venetian glass bowl given to the family by King Henry VI as a symbol of protection. Muncaster Castle is a living legend with a rich history and connection to the UK's heritage. During World War II, the castle served as a safekeeping place for Britain's national art treasures. The castle is also known for its diverse habitats and wildlife conservation efforts, including the preservation of endangered species like vultures. The castle has American connections, with John Paul Jones spiking cannons in the nearby port of Whitehaven during the American War of Independence. Muncaster Castle is also famous for its ghosts, including a crying child, a white lady, and Thomas Skelton, the Fool of Moncaster. Join us as we explore all this fascinating history and get a portrait of what it's like to live in a castle in the modern age! Links Muncaster Castle Official Website My Visit to Muncaster in 2018 Ravenglass and Eskdale Railway Lake District National Park Visit Cumbria Takeaways Muncaster Castle is a medieval castle located in Cumbria, England, on the edge of the Lake District National Park. The castle has been in the Pennington family for over 800 years and has been open to the public as a tourist attraction since 1968. The castle is known for its strategic location on the coast and its connection to the Roman Empire. The castle houses the Hawk and Owl Centre, which specializes in owls and other birds of prey. The 'Luck of Muncaster' is a Venetian glass bowl given to the family by King Henry VI as a symbol of protection. Muncaster Castle served as a safekeeping place for Britain's national art treasures during World War II. The castle is known for its diverse habitats and wildlife conservation efforts, including the preservation of endangered species like vultures. Muncaster Castle has American connections, with John Paul Jones spiking cannons in the nearby port of Whitehaven during the American War of Independence. The castle is famous for its ghosts, including a crying child, a white lady, and Thomas Skelton, the Fool of Muncaster. Sound Bites "Muncaster Castle is a fabulously romantic and very strategic place." "Muncaster Castle is recognized as the start of the Hadrianic or the Roman frontier." "The Pennington family originally lived in the Roman bathhouse, which is now part of the castle." "Well, it's a lovely, it's a living legend and that's what makes this place so special." "We've actually got a lock of his hair in this very room." "We got the contents of the Tate Gallery. And we've had a local gentleman who's done a lot of research on this lately and found a lot more that we didn't know." Chapters 00:00 Introduction to Muncaster Castle and its Owner 05:04 The Roman Connection and Ancient Origins of Muncaster Castle 07:49 Accommodation and Experiencing the Peace of Muncaster Castle 12:05 The Transformation of Muncaster Castle into a Place of Entertainment 22:57 The 'Luck of Muncaster' and its Significance 28:38 Muncaster Castle: A Living Legend and UK Heritage 32:38 Running a Heritage Attraction in the UK 37:34 Living in a Fishbowl: Balancing Home and Tourist Attraction 41:59 Honoring the Past, Looking to the Future 48:15 American Connections: John Paul Jones and Muncaster Castle 52:33 The Ghosts of Muncaster Castle: Legends and Hauntings

Danielle travels to Kettle's Yard, the contemporary art gallery in Cambridge, UK, to meet Megan Rooney, a Canadian artist renowned for her diverse and interdisciplinary practice encompassing painting, sculpture, installation, and performance.Kettle's Yard is a charming art gallery and house that was originally the home of Jim Ede, a former curator at the Tate Gallery, and his wife Helen. From the mid-1950s until the early 70s, the Edes resided at Kettle's Yard and created a space to display their impressive personal art collection, which includes works by Miro, Henry Moore, and Ben Nicholson. The house is arranged to maintain its domestic atmosphere, blending art with everyday objects to create an inspiring environment. Kettle's Yard also hosts temporary exhibitions, concerts, and educational programs, the most recent of which is a showcase of Megan Rooney's work, including a site-specific temporary mural, a series of paintings, a dance performance, and a book.Born in South Africa and raised between Brazil and Canada, Rooney's work explores themes of identity, memory, and the human experience, blending abstract forms with narrative elements. Now based in London, her vibrant, large-scale paintings and immersive installations are characterised by a dynamic use of colour and texture. She has exhibited internationally, including at prominent institutions like the Serpentine Galleries in London and the Louis Vuitton Foundation, and is recognised for her innovative approach to blending different media and creating evocative, experiential art.Danielle visited Kettle's Yard to discuss with Megan her latest offering on the eve of the exhibition opening, which is her first major solo show in the UK.https://www.kettlesyard.cam.ac.uk/https://ropac.net/artists/210-megan-rooney/ Photo (detail): Eva Herzog   

Szlabey Zoltán festőművész nemrég nyitotta meg "Csengve, nevetve I kibuggyan a kedve I s egy ős evoét a fénybe kiált" című egyéni kiállítását a FreylerArt Galériában. Zoltán tanulmányait a Magyar Iparművészeti Főiskola alkalmazott grafika szakán kezdte, majd Zürichi Galériása több külföldi gyűjteménybe értékesítette műveit. Nevét több nemzetközi cég arculattervezése is fémjelzi, és alkotásai megtalálhatók a Tate Gallery és a Guggenheim gyűjteményében is.A Sláger FM-en minden este 22 órakor a kultúráé a főszerep S. Miller András az egyik oldalon, a másikon pedig a térség kiemelkedő színházi kulturális, zenei szcena résztvevői Egy óra Budapest és Pest megye aktuális kult történeteivel. Sláger KULT – A természetes emberi hangok műsora

Wykład Urszuli Kozakowskiej-Zauchy, współautorki wystawy Olgi Boznańskiej, kierownika Działu Nowoczesnego Polskiego Malarstwa i Rzeźby Muzeum Narodowe w Krakowie. Muzeum Narodowe w Warszawie, 5 marca 2015r. https://wszechnica.org.pl/wyklad/milosc-i-nienawisc-krakow-olgi-boznanskiej/ Wybrała Paryż i tam umarła ale Kraków, rodzinne miasto, pozostał dla Boznańskiej jednym z najważniejszych miejsc na ziemi. Przypadająca 15 kwietnia 2015 roku 150. rocznica urodzin Olgi Boznańskiej stała się inspiracją do zaprezentowania twórczości jednej z najbardziej cenionych polskich malarek, zaliczanych do ścisłego grona najwybitniejszych artystek europejskich. Wystawa pod honorowym patronatem Małżonki Prezydenta Rzeczypospolitej Polskiej Anny Komorowskiej. Wystawa zorganizowana przez Muzeum Narodowe w Krakowie we współpracy z Muzeum Narodowym w Warszawie, ze specjalnym udziałem Musée d'Orsay. Olga Boznańska (1865–1940) jest jedną z najbardziej oryginalnych i cenionych w świecie polskich artystek. Jej prace reprezentują polską sztukę na wielu wystawach w kraju i za granicą. Córka Francuzki i Polaka, urodzona w Krakowie, tutaj też odebrała wstępne wykształcenie artystyczne. Naukę malarstwa kontynuowała w Monachium. Zachęcona sukcesami odniesionymi w świecie, osiadła w 1898 roku w Paryżu – stolicy ówczesnego artystycznego świata. Tam rozwinęła się jej kariera międzynarodowej portrecistki. Ona była malarką stuprocentową – to zdanie Józefa Czapskiego o Oldze Boznańskiej jest mottem programu wydarzeń towarzyszących wystawie artystki w Muzeum Narodowym w Warszawie, w którym znajduje się zbiór 57 obrazów Boznańskiej, w tym takie arcydzieła jak W oranżerii, Portret chłopca w gimnazjalnym mundurku, Pracownia artystki, Imieniny babuni czy Portret Anny Saryusz Zaleskiej, a także szkicowniki i fotografie. Duży zespół obrazów artystki jest zawsze obecny w kolejnych odsłonach stałej Galerii Malarstwa Polskiego a jej obrazy niezmiennie pokazywane są na wystawach sztuki polskiej, organizowanych przez warszawskie Muzeum Narodowe za granicą. Miejsce Boznańskiej w polskiej sztuce określił Wiesław Juszczak w błyskotliwej syntezie Modernizm z 1977 roku. Na przekór wszystkim, którzy pisali, że stylistyczna klasyfikacja malarstwa Boznańskiej jest niemożliwa, Juszczak powiada, iż stosując środki i technikę impresjonistyczną artystka osiąga ostateczny efekt napięcia emocjonalnego i drapieżnej ekspresji. Zauważa, że już w okresie monachijskim Boznańska odnalazła własną „przestrzenną formułę”: jej bezkonturowe postaci na niedookreślonych tłach już to się w nie wtapiają, już to się z nich wyłaniają, co daje poczucie niepokojącego pulsowania. „I od zasugerowania takiej przestrzeni »cerebralnej«, odrealnionej, rozpoczyna się tutaj przenikliwa, bezlitosna nierzadko opowieść o ludzkiej duszy”. Juszczak porównuje wibrujące plamy Boznańskiej do linii Wyspiańskiego: pozwalają one na przekroczenie wolumenu materii, by tym silniej wyrazić psychikę zjawisk i duszę artystki. W specyficznej polskiej recepcji kierunków zachodnich impresjonizm – powiada Juszczak – wiąże się z ekspresjonistycznym gruntem. Autorki wystawy postawiły sobie za zadanie dotrzeć do wszystkich dzieł artystki, a co ważniejsze, przedstawić je w kontekście dzieł artystów, na których Boznańska się sama powoływała, bądź z którymi wiązali jej dzieła krytycy. Na warszawskiej wystawie tylko na jeden miesiąc (do 25 marca 2015) pojawi się dzieło, z którym związek Boznańskiej będzie wyraźny i zachwycający, mianowicie obraz Whistlera Harmonia w szarości i zieleni. Miss Cicely Alexander z 1873 roku, użyczony nam przez Tate Gallery w Londynie. Boznańska widziała go razem z innymi obrazami artysty na wystawie w Monachium w 1888 roku. Znajdź nas: https://www.youtube.com/c/WszechnicaFWW/ https://www.facebook.com/WszechnicaFWW1/ https://anchor.fm/wszechnicaorgpl---historia https://anchor.fm/wszechnica-fww-nauka https://wszechnica.org.pl/ #muzeumnarodowe #sztuka #boznańska #olgaboznańska #kultura #malarstwo

Callers react to the idea of people returning to meat-eating because vegetarian food is too processed. Patricia never clicked on any link but scammers managed to steal over €4,000 from her. Paul Hogan deided to recover a Berthe Morisot painting from the Tate Gallery which was supposed to be in an Irish gallery.

Episode 70 - Dyslexia Success Story with CMO of Samsung Europe, Benjamin Braun. This episode is a little different. In this episode I am joined by the brilliant Benjamin Braun, the CMO of Samsung Europe!  My aim with these ocasional guest interviews is to share and demonstarte real world examples of people who are scuessful BECAUSE of their dyslexia, not despite it.  This also proves that of the things we talk about on this podcast really do work in the real world, and they will work for everyone. It helps to contextualise the concepts we talk about on this podcast into real world examples. Benjamin joined Samsung as their Chief Marketing Officer for Europe. Prior to Samsung, Benjamin led Audi's marketing in the United Kingdom. His campaigns were used worldwide and recognised with a Cannes Lions Gold Award and an IPA Grand Prix for marketing efficiency. Before joining Audi, Benjamin was part of the comparethemarket.com's executive team and worked across the UK, France and Holland. At British Gas he launched a nifty little app that lets you control your home from your phone. And before that he worked for American Express in New York. Benjamin's personal achievements include his photography exhibition at the Tate Gallery in London and receiving the Royal Swedish Glass design award. Benjamin also volunteers as a Special Police Constable in London where he responds to emergencies.    Don't forget to download the free guide to dyslexia! *** Free Guide "Decode Dyslexia at Work" *** Includes advice and tips such as: Simple and easy-to-understand explanation of dyslexic strengths, Our best and most recommended dyslexic strategies, and Building confidence and learning how to be proud of dyslexia.   I want to thank you for joining me and listening to this podcast! It really helps the podcast and the mission if you rate, review, and share this podcast so that others may find it and get the support they need. Visit Dyslexia in Adults: Dyslexia in Adults Linktree Dyslexia in Adults is hosted by Natalie Brooks and is produced by FAC. Fisher Audio Cast: Fisher Audio Cast Website

A few weeks ago, Tate Britain hosted a captivating intersection of art, history, and activism. The Neo Naturists, a trailblazing artist trio consisting of Jennifer Binnie, Christine Binnie, and Wilma Johnson, captivated visitors as they transformed their nude bodies into living representations of iconic nude artworks from the gallery's collection, challenging the audience with a provocative question: “Do women have to be naked to gain entry into the Tate Gallery?” The lecture was part performance art, part art history, and part legitimate rebellion, cleverly criticizing the very establishment where they'd worked for over forty years to have the opportunity to exhibit.

**Dit is aflevering 32: "De Gestolen Turners en een Sluw Museum"**Leuk als jullie in de spotify Q&A van onze afleveringen een reactie willen geven op onze vraag en de eventuele enquete! Jouw steun betekent veel voor ons. Overweeg een bijdrage te leveren aan Kunstmaffia via Of het nu groot of klein is, anoniem of niet, eenmalig of maandelijks, elke bijdrage helpt ons om dit fascinerende verhaal voort te zetten en meer verborgen verhalen aan het licht te brengen: https://fooienpod.com/kunstmaffiaZeer veel dank mochten jullie iets voor onze podcast over hebben!Bekijk ook graag:https://instagram.com/Kunstmaffia**Aflevering 32** van Kunstmaffia duikt in het adembenemende verhaal van de diefstal van twee onbetaalbare schilderijen van William Turner, samen met een meesterwerk van Caspar Friedrich, uit de Kunsthal van Frankfurt. Deze sensationele aflevering onthult een verhaal vol intriges, misleiding en een gedurfde zoektocht naar gerechtigheid, terwijl het ontrafelt hoe het Tate Gallery in Londen zich in de schaduwwereld waagde om hun verloren schatten terug te krijgen.**Afleveringstitel:** De Gestolen Turners en een Sluw Museum**Uw Gastheren:** Rik Bouman en Robert Tetteroo brengen u wederom een fascinerend verhaal uit de onderwereld van kunst en antiek.**In deze aflevering:**- Ontdek het geniale van William Turner, wiens werk niet alleen de romantiek belichaamde maar ook de weg vrijmaakte voor de impressionisten.- Volg de dramatische nacht van de roof waarbij klassieke dieventactieken een moderne draai krijgen, resulterend in de verdwijning van drie meesterwerken.- Duik in de intense onderhandelingen en de geheime operatie, geleid door het Tate Gallery, om de gestolen schilderijen terug te winnen van de onderwereld.**Hoogtepunten:**- De onthulling van 'Operatie Cobalt': Tate Gallery's riskante strategie om hun gestolen kunst terug te kopen.- De verbijsterende wendingen van internationale misdaad, met kruimeldieven, oplichters en maffiabazen die allen hun rol spelen in dit drama.- De morele dilemma's en ethische vraagstukken rondom het betalen van losgeld voor gestolen kunst.**Achtergrondinformatie:**William Turner, een van de grootste Britse schilders, liet een onuitwisbare stempel achter op de kunstgeschiedenis met zijn revolutionaire benadering van licht, kleur en sfeer. Zijn werken, die nu tot de meest waardevolle ter wereld behoren, zijn een testament van zijn genie.https://www.tate.org.uk/art/artists/joseph-mallord-william-turner-558 https://www.artmajeur.com/nl/magazine/5-kunstgeschiedenis/jmw-turner/333118Hartelijk dank voor het luisteren, en blijf ons volgen voor meer intrigerende verhalen uit de verborgen hoeken van de kunstwereld.**#Kunstmaffia #DeGestolenTurners #KunstDiefstal #TateGallery #WilliamTurner #Kunstgeschiedenis #Podcast**

**Dit is aflevering 32: "De Gestolen Turners en een Sluw Museum"**Leuk als jullie in de spotify Q&A van onze afleveringen een reactie willen geven op onze vraag en de eventuele enquete! Jouw steun betekent veel voor ons. Overweeg een bijdrage te leveren aan Kunstmaffia via Of het nu groot of klein is, anoniem of niet, eenmalig of maandelijks, elke bijdrage helpt ons om dit fascinerende verhaal voort te zetten en meer verborgen verhalen aan het licht te brengen: https://fooienpod.com/kunstmaffiaZeer veel dank mochten jullie iets voor onze podcast over hebben!Bekijk ook graag:https://instagram.com/Kunstmaffia**Aflevering 32** van Kunstmaffia duikt in het adembenemende verhaal van de diefstal van twee onbetaalbare schilderijen van William Turner, samen met een meesterwerk van Caspar Friedrich, uit de Kunsthal van Frankfurt. Deze sensationele aflevering onthult een verhaal vol intriges, misleiding en een gedurfde zoektocht naar gerechtigheid, terwijl het ontrafelt hoe het Tate Gallery in Londen zich in de schaduwwereld waagde om hun verloren schatten terug te krijgen.**Afleveringstitel:** De Gestolen Turners en een Sluw Museum**Uw Gastheren:** Rik Bouman en Robert Tetteroo brengen u wederom een fascinerend verhaal uit de onderwereld van kunst en antiek.**In deze aflevering:**- Ontdek het geniale van William Turner, wiens werk niet alleen de romantiek belichaamde maar ook de weg vrijmaakte voor de impressionisten.- Volg de dramatische nacht van de roof waarbij klassieke dieventactieken een moderne draai krijgen, resulterend in de verdwijning van drie meesterwerken.- Duik in de intense onderhandelingen en de geheime operatie, geleid door het Tate Gallery, om de gestolen schilderijen terug te winnen van de onderwereld.**Hoogtepunten:**- De onthulling van 'Operatie Cobalt': Tate Gallery's riskante strategie om hun gestolen kunst terug te kopen.- De verbijsterende wendingen van internationale misdaad, met kruimeldieven, oplichters en maffiabazen die allen hun rol spelen in dit drama.- De morele dilemma's en ethische vraagstukken rondom het betalen van losgeld voor gestolen kunst.**Achtergrondinformatie:**William Turner, een van de grootste Britse schilders, liet een onuitwisbare stempel achter op de kunstgeschiedenis met zijn revolutionaire benadering van licht, kleur en sfeer. Zijn werken, die nu tot de meest waardevolle ter wereld behoren, zijn een testament van zijn genie.https://www.tate.org.uk/art/artists/joseph-mallord-william-turner-558 https://www.artmajeur.com/nl/magazine/5-kunstgeschiedenis/jmw-turner/333118Hartelijk dank voor het luisteren, en blijf ons volgen voor meer intrigerende verhalen uit de verborgen hoeken van de kunstwereld.**#Kunstmaffia #DeGestolenTurners #KunstDiefstal #TateGallery #WilliamTurner #Kunstgeschiedenis #Podcast**

Happy birthday! Heute vor 205 Jahren wurde Henry Tate in Charley, Lancashire geboren. Er war erfolgreicher Zucker-Unternehmer und zugleich Kunstliebhaber und Mäzen. Und er ist der Erfinder des Zuckerwürfels! 1878, mit 59 Jahren revolutionierte er den Zuckerhandel mit den kleinen, süßen Würfeln. Henry Tate war bekannt für sein soziales Engagement und seine philanthropischen Bemühungen. Er spendete erhebliche Summen an wohltätige Zwecke, darunter Krankenhäuser und Bildungseinrichtungen. Sein größtes Vermächtnis ist aber sicher die Gründung der Tate Gallery im Jahr 1897, ermöglicht durch seine Schenkung von 65 Gemälden und den finanziellen Mitteln für den Bau des Museums. Das war kurz vor seinem Tod. Tate verstarb am 5. Dezember 1899. Tates Vision war es, der Öffentlichkeit Zugang zu Kunst zu verschaffen und das Verständnis und die Wertschätzung für britische Kunstwerke zu fördern. Viele London-Besucher kennen Tate Britain und seit 2000 vor allem Tate Modern, am Südufer der Themse in einem umgebauten Kraftwerk.

London goes München: 80 Gemälde, Aquarelle und Skizzen des großen englischen Malers William Turner (1775 - 1851) sind derzeit im Münchener Lenbachhaus zu bewundern (bis 10. März 2024), darunter auch viele von Turner nicht veröffentlichte Werke. Die Leih-und Tauschgabe der berühmten Londoner Tate Gallery ist Teil einer der gefeiertsten europäischen Kunstausstellungen: William Turner, der "Maler des Lichts", gilt als Vorreiter der Moderne. In seinen Bildern entfaltet die Farbe eine bis dahin ungesehene Freiheit. BRITPOD-Macher Claus Beling trifft Co- Kurator Dr. Nicholas Maniu und gibt uns einen einzigartigen Einblick in die Geheimnisse dieses weltberühmten englischen Genies und sein künstlerisches Werk. Der große William Turner in München - eine Chance, die so bald nicht wiederkommt! -- WhatsApp: Ab sofort kannst Du Alexander und Claus direkt auf ihre Handys Nachrichten schicken! Welche Ecke Englands sollten die beiden mal besuchen? Zu welchen Themen wünschst Du Dir mehr Folgen? Warst Du schon mal in Great Britain und magst ein paar Fotos mit Claus und Alexander teilen? Probiere es gleich aus: +49 8152 989770 - einfach diese Nummer einspeichern und schon kannst Du BRITPOD per WhatsApp erreichen. -- Ein ALL EARS ON YOU Original Podcast.

The Turner Prize was established in 1984 by a group of art patrons who wanted to celebrate and support innovative and experimental art in Britain. The prize is named after J.M.W. Turner, a radical painter who challenged the conventions of his time with his bold use of colour, light and movement. The prize is awarded every year by the Tate Gallery to an artist under 50 years old who has made a significant contribution to British art in the past year. This year first prize was awarded to Jesse Darling, an Oxford-born artist who creates sculptures made of everyday objects that reflect the political and social realities of Britain and has received mixed reviews. What are some of the more shocking works? And what makes the Turner Prize so shocking? In under 3 minutes, we answer your questions! To listen to the last episodes, you can click here: Which are the dirtiest parts of our bodies? Why do we cross our fingers to wish for luck? Which conspiracy theories were actually true? A podcast written and realised by Amber Minogue. In partnership with upday UK. Learn more about your ad choices. Visit megaphone.fm/adchoices

Toronto-London based experimental group, The  Flowers of Hell, founded by Greg Jarvis release their latest album called "Keshakhtaran" via Space Age Recordings. "The Flowers of Hell" is rooted in an old blues idea about how music transforms the misery and toil of musicians into the joy of listeners, as well as Baudelaire's poetry book called, "Les Fleurs Du Mal." "Keshakhtaran," meaning "seeking nirvana through meditation to sound, especially when you're stoned," is suitably named. The album presents a 42-minute instrumental psilocybin meditation piece in two parts, rooted in sax, flugel horn, chimes, harp,sitar and opera soprano vocals, augmented with tremolos, flutters, horns, woodwinds, strings and percussion. The album was mastered by Grammy recipient Peter J. Moore (Bob Dylan, Joni Mitchell, Neil Young, Joe Strummer). For the past 18 years, The Flowers Of Hell have traversed the experimental edges of indie, classical and jazz, with music often rooted in the audio-visual synesthesia of Jarvis. Despite relative obscurity, they have been championed by music legends such as Lou Reed, Sonic Boom, Kevin Shields and members of The Legendary Pink Dots, Death In Vegas, The Wedding Present, The Fugs and The Plastic People Of The Universe, not to mention support from NASA's Mission Control team and the Tate Gallery. THE FLOWERS OF HELL also released their deluxe first vinyl pressing of Lou Reed-endorsed "Odes" album for Record Store Day UK. "Odes," pays tribute to The Joy Division, Bob Dylan, Fleetwood Mac, Stereolab, Laurie Anderson, The Velvet Underground, Siouxsie & the Banshees and Neutral Milk Hotel, among others. http://www.flowersofhell.comhttps://flowersofhell.bandcamp.comPlaylist and podcast: https://djnocturna.com YouTube:  https://www.youtube.com/c/DJNocturnaListen : http://modsnapradio.comQUEEN OF WANDS with DJ Nocturna Every Saturday on ModSnap RadioKMOD: San Antonio2pm (HST), 5pm (PST), 6pm (MST), 7pm (CST), 8pm (EST)

David talks about life before photography and his journey to becoming a full-time artist. He shares stories about life on the road and what happened when he met the Head of the Tate Gallery (it wasn't what he expected) and had dinner with George Bush. He also talks about the importance of real trust in business and why Richard Oury is his number 1 go-to man. David's recommendations:The Offer - The Making Of The Godfather (film)The Prize: The Epic Quest for Oil Money and Power - Daniel Yergin (book)BWB is powered by Oury Clarkbusinesswithoutbullshit.me

During a visit to London, Studs interviews a 73 year old cab driver in London, who has 50 years on the job. They discuss traffic jams, the elderly and the young, poverty, welfare, and society. Studs also interviews a number of people attending the Tate Gallery's Lichtenstein Exhibition.

Welcome to Purposely with Em Lewis, CEO of Nikau Foundation. Originally from the UK, Em is a skilled fundraiser and relationship builder who initially aspired to have a career in the arts. However, after working as a street fundraiser in London in the 90s, she decided to dedicate her professional life to philanthropy and fundraising. Em started by combining her passion for the arts with a role at the renowned Tate Gallery and later with roles leading Universities. While street fundraising can be challenging for many due to the number of passers-by who ignore or reject approaches, Em found it invigorating. She discovered that not only was she exceptionally good at it, but it also taught her valuable early lessons on how to engage people and how to separate any personal feelings of rejection from the cause she was promoting. Established in 1991 and inspired by a global movement, Nikau (originally known as Wellington Community Foundation) was the first community foundation in New Zealand. Today, Wellington is located at the bottom of New Zealand's North Island, and there are now 17 community foundations throughout the country. Each foundation works to make a positive and lasting impact within their respective regions. Collectively, these foundations have distributed over $50 million in the last five years, with a national asset base of over $230 million. Nikau Foundation serves as a guardian of $32 million, which has been invested by donors to support local communities in the future. Additionally, Nikau operates as a Corporate Trustee for existing funds and trusts, providing valuable guidance on regional needs. Two notable foundations they work with are the Mark Dunajtschik Foundation and The Michael and Suzanne Borrin Foundation. The community foundation movement has a rich history. It originated in the United States at the beginning of the 20th century, with the establishment of the first community foundation in Cleveland, Ohio, by Frederick Goff, a local banker and entrepreneur (Sacks 2014). Initially, community foundations were marketed as a means for banks to serve their local communities, and after the success of the Cleveland Foundation in 1914, similar foundations quickly emerged in the 22 largest cities in the United States. --- Send in a voice message: https://podcasters.spotify.com/pod/show/mark-longbottom2/message

Interludes: Black Balloons is a new sound installation by Shade Podcast and Axel Kacoutié now showing at Tate Gallery. Responding to Liz Johnson Artur's display Time don't run here, the piece references Artur's Black Lives Matter protest images and works from her ongoing Black Balloon Archive documenting people in Africa, and of the African and Caribbean diasporas. Experience Liz Johnson Artur's work with the ear and body. How does sound change how you see the works? What pulses through you when you see the images, braille and thread? The soundscape features the voices of Liz Johnson Artur, artists Imogen Faires and Jamel Alatise from Theatre Peckham, and Research and Interpretation Artist Resident, Marie Smith. It includes extracts from Poetry as Protest, Protest as Poetry, a poem by Faires and Alatise responding to the display and performed live at Tate Modern in April 2023.Visit the installation at Tate Modern, Natalie Bell Building, Level 2 West Room 4, Artist and Society. Black Balloons will play in the gallery at the following times: 11.00am, 12.00pm, 1.00pm, 3.00pm, 4.00pm, 5.00pm.Interludes is an ongoing sound collaboration between Lou Mensah of Shade Podcast and the audio artist Axel Kacoutié.Produced by Lou MensahCreated by Axel Kacoutié Become a member at https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

Victor Burgin (b. 1941, Sheffield, United Kingdom) first came to prominence in the late 1960s as one of the originators of Conceptual Art. His work appeared in such key exhibitions as Harald Szeemann's Live in Your Head: When Attitudes Become Form (1969) at the ICA London, and Kynaston McShine's Information (1970) at The Museum of Modern Art, New York. Since then, he has had solo exhibitions at the Museum für Gegenwartkunst Siegen, Kunsthalle Bremerhaven, MAMCO Musée d'art moderne et contemporain, Canadian Centre for Architecture, Mücsarnok Museum, University at Buffalo Art Gallery, Musée d'art moderne Villeneuve d'Ascq, The List Visual Arts Center, Renaissance Society at the University of Chicago, Musée de la Ville de Calais, The Museum of Modern Art in Oxford, and Stedelijk van Abbemuseum in Eindhoven. His work appears in the collections of The Metropolitan Museum of Art, Museum of Modern Art, New York Public Library, Walker Art Center, Tate Gallery, Victoria and Albert Museum, Los Angeles County Museum of Art, Museum of Contemporary Art in Los Angeles, Museum Ludwig, Fotomuseum Winterthur, Musée national d'art moderne, Sammlung Falckenberg, and The Arts Council Collection in London. Burgin graduated from the School of Painting at the Royal College of Art, London, in 1965, where his teachers included the philosopher and novelist Iris Murdoch, and then went on to study Philosophy and Fine Art at Yale University School of Art and Architecture, where his teachers included Robert Morris and Donald Judd. Burgin is Professor of Visual Culture at the University of Southampton, Professor Emeritus of History of Consciousness at the University of California, Santa Cruz and Emeritus Millard Chair of Fine Art at Goldsmiths College, London. In 2015 he was a Mellon Fellow and Visiting Professor in the Department of Cinema and Media Studies at the University of Chicago. He lives and works in South West France and Paris. Victor Burgin, Photopath, 1967-69. instruction card; typewritten on card stock. 5 x 8 inches. Courtesy the artist and Cristin Tierney Gallery, New York Installation view of Victor Burgin: Photopath (Cristin Tierney Gallery, New York, January 20 - March 4, 2023). Photograph by Elisabeth Bernstein. Courtesy the artist and Cristin Tierney Gallery, New York. Detail. Installation view of Victor Burgin: Photopath (Cristin Tierney Gallery, New York, January 20 - March 4, 2023). Photograph by Elisabeth Bernstein. Courtesy the artist and Cristin Tierney Gallery, New York.

Before I launch into the usual litany of woe, and really, the stories making the news headlines are indeed indicative of a woeful state of affairs, I do think we should acknowledge some of the good news around.  Zoe Hobbs was magnificent in Sydney over the weekend; the Tarankai raised, Auckland based sprinter has officially become the first New Zealand woman to run under 11 seconds for the 100 metres. Hobbs created history at the Sydney Track Classic by running 10.97 to scalp one-tenth of a second from her Oceania women's 100m record with an exhilarating performance. Sticking with sport, in the third game of their second season in Super Rugby Pacific, the Fijian Drua have claimed one of the biggest upsets in the competition's history beating the Crusaders 25-24 which has to be good news for rugby full stop. We also had three sold out concerts on Saturday night showcasing New Zealanders eclectic music tastes: BackStreet Boys, Snoop Dogg, and My Chemical Romance. So many beautiful emos in the central city on Sunday… and there's a great exhibition from the Tate Gallery on at the Auckland Art Gallery which is a must see.  There was sunshine and people flocking to beaches, and I could pretend for just a moment that we'd had a summer up north. So that's the good news. We return now to our regular scheduled programming. How on earth is the government and Andrew Coster going to spin this? Retail crime is up nearly 40 per cent —nearly 300 incidents every single day— and that's just the reported crime. 292 incidents every day in 2022, up from 140 per day in 2018. Why? Because the crims know they'll get away with it.  There's been a 400 per cent increase in ram raids in five years, 76 per cent of those caught under the age of 18. Why? Because the crims know they'll get away with it.  If you're on any neighbourhood FB page you'll see the footage of crims coming up driveways looking for homes to break into, cars to steal, opportunties to take stuff they're not willing to work for - why? Because they know they'll get away with it.  Violent gun crime is on the rise. Police data reveals that while the number of firearm offences has risen and fallen over the past 15 years, 2021 was the worst over that period with 1,308 firearms offences recorded. It surpassed 2019 when there were 1,142 incidents, including the mosque terror attacks. So 2021 worst year in 15 years - until 2022.  That was on track for being the worst year ever.   Data released by police under the Official Information Act shows 10 murder or manslaughter deaths in 2022, up until 31 July. There were 11 in total in 2021. Injuries are also running at a record rate, on track to exceed 300 firearm-related injuries for the first time. In 2021, there were 298 gun-related injuries recorded by police, the highest ever.  Why?  You know the chorus - repeat after me. Because they know they'll get away with it.  And all we get from the Police Commissioner and this government is gaslighting: New Zealand is a safer place because of the gun buyback. There is no increase in crime.  Ram raids have decreased since I became PM. There are more police on the streets. Fog cannons will make a difference. Utter, utter BS from a government that will not draw a line in the sand and say enough. No more. In a civilised society this is simply not acceptable and those who transgress, those who don't or won't observe the rules of civilised society need to be punished. See omnystudio.com/listener for privacy information.

This one has it all: sibling rivalry, country club politics, adultery, duels, the Civil War, Spanish colonial policy, three giant piles of bird poop, all connected by the greatest American painter of the 19th Century: James McNeill Whistler. Transcript, sources, links and more at https://order-of-the-jackalope.com/crepuscule-in-blood-and-guts/ Key sources for this episode include Daniel E. Sutherland's Whistler: A Life for Art's Sake; Nikolaus Pevsner's "Whistler's Valparaiso Harbour at the Tate Gallery"; William Columbus Davis's The Last Conquistadores: The Spanish Intervention in Peru and Chile, 1863-1866; and the personal correspondence of James McNeill Whistler. Part of the That's Not Canon Productions podcast network. https://thatsnotcanon.com/ This week we're co-promoting with fellow TNC podcast Art Slice. Join artists Stephanie Dueñas and Russell Shoemaker as they approach art history from an artist's perspective, without all the technical gibberish getting in the way. https://www.artslicepod.com/ Discord: https://discord.gg/Mbap3UQyCB Twitter: https://twitter.com/orderjackalope Tumblr: https://orderjackalope.tumblr.com Email: jackalope@order-of-the-jackalope.com

In 2016 the Tate opened up a viewing platform that proved an amazing vantage point for seeing the London skyline. Unfortunately it was also the perfect place to look directly into some nearby flats. As more and more tourists peered into the flats, took photos, and posted them on social media, the residents brought this claim based on the tort of nuisance. https://uklawweekly.substack.com/subscribe Music from bensound.com

Written 2000. Read by Kate Finning

Our Special Guest this week is Lord Ed Vaizey, politician, media columnist & commentator. Decisions of the Week: Decision of the Supreme Court in Fearn et al v Board of Trustees of Tate Gallery [2023] SCUK 4 dated 1st February 2023 allowing, by 3-2, an appeal against the decision of the Court of Appeal who had dismissed an appeal from Mr Justice Mann who declined to grant an injunction based on the common law of private nuisance to stop members of the public from using a viewing gallery which afforded uninterrupted views into their glass walled flats. Decision of the Court of Appeal in R (oaf Whitley PC) v N Yorks CC & EPUK Investments Ltd [2023] EWCA Civ 92 dated 3rd February dismissing an appeal against the decision of Mr Justice Lane who had dismissed a claim for JR of a decision to grant planning permission for the extraction & export of pulverised ash based on alleged errors in the officer report & the failure to consider alternatives. Decision of High Court in Bristol Action Network Co-Ordinating Committee v SoS DLUC & Bristol City Airport dated 31st January 2023 challenging a decision of the appointed panel to allow a s78 appeal by the Airport, against the decision of North Somerset Council to refuse an application for the amendment of existing conditions to increase capacity by 2 million passengers per year on grounds related to emissions of greenhouse gases and impact on a SAC on which horseshoe bats roost & breed. Issues raised include the interaction/relationship with the CCA 2008 and local plan policy for the airport. Decision of High Court in Armstrong V SOS DLUC & Cornwall Council [2023] EWHC 176 (admin) dated 27th January 2023 quashing a decision letter dismissing an appeal by Mr Armstrong against the decision of Cornwall Council to refuse an application under section 73 of the TCPA 1990 to vary plans for construction of a new dwelling under an extant planning permission on the basis the application gave rise to a fundamental variation to the permission even though it would not give rise to any conflict with the description of the permission. The views expressed by our guests are their own and do not necessarily represent the views of the panellists.

Jess Harrold is joined by EG court reporter James Lumley, and partner James Souter and associate Sam Lear, both from Charles Russell Speechlys, for a detailed discussion of the Supreme Court's decision in Fearn and others v Board of Trustees of Tate Gallery [2023] UKSC 4; [2023] PLSCS 22. Together, they address the court's landmark ruling in favour of the residents of Neo-Bankside that the visual intrusion from a viewing platform at the Tate Modern - from which tourists can stare straight into their flats - constitutes a nuisance. Bearing in mind the extreme nature of the facts of the case, they address the implications of the decision and the potential development of the law of nuisance that may follow in its wake.

Martina Mazzotta"Max Ernst"Mostra al Palazzo Reale di Milanohttps://palazzorealemilano.itLa mostra, promossa e prodotta da Comune di Milano-Cultura e da Palazzo Reale con Electa, in collaborazione con Madeinart, è curata da Martina Mazzotta e Jürgen Pech.Oltre 400 sono le opere tra dipinti, sculture, disegni, collages, fotografie, gioielli e libri illustrati provenienti da musei, fondazioni e collezioni private, in Italia e all'estero.Tra questi: la GAM di Torino, la Peggy Guggenheim Collection e il Museo di Ca' Pesaro di Venezia, la Tate Gallery di Londra, il Centre Pompidou di Parigi, il Museo Cantini di Marsiglia, i Musei Statali e la Fondazione Arp di Berlino, la Fondazione Beyeler di Basilea, il Museo Nazionale Thyssen-Bornemisza di Madrid.Il lungo lavoro di studio e d'indagine compiuto dai curatori ha permesso di includere tra i prestiti, che vantano la presenza di un'ottantina di dipinti, anche opere e documenti che non venivano esposti al pubblico da parecchi decenni.L'immensa vastità di temi e sperimentazioni dell'opera di Ernst si spalma su settant'anni di storia del XX secolo, tra Europa e Stati Uniti, sfuggendo costantemente a una qualsivoglia definizione. Pictor doctus, profondo conoscitore e visionario interprete della storia dell'arte, della filosofia, della scienza e dell'alchimia, Max Ernst viene presentato in questo contesto quale umanista in senso neorinascimentale.Se André Chastel affermava di rinvenire in Ernst una sorta di “reincarnazione di quegli autori renani di diavolerie tipo Bosch”, Marcel Duchamp vi aveva rintracciato “un inventario completo delle diverse epoche del Surrealismo”."Max Ernst"a cura di Martina Mazzotta e Jurgen PechElectahttps://electa.itIl volume, edito in occasione della mostra a Palazzo Reale di Milano, intende estendere e rinnovare le ricerche intorno al genio di Max Ernst, pittore, scultore, incisore, poeta e teorico dell'arte tedesco, poi naturalizzato americano e francese.La pubblicazione è un'opportunità inedita per immergersi in un diario illustrato che documenta e scandisce l'avventura straordinaria che fu la sua vita. I saggi critici dei curatori, Martina Mazzotta e Jürgen Pech, insieme con quelli di studiosi internazionali (Yuval Etgar, Ludger Derenthal, Matteo Pavesi, Paola Stroppiana, Ursula Lindau), ne esplorano la produzione artistica in rapporto con la storia dell'arte, la memoria e le avanguardie (Dadaismo e Surrealismo in primis), con le crittografie e i temi cosmologici, con le tecniche sperimentate, con la scultura e gioielli, con il libro e la letteratura, con il cinema, con le amicizie e gli amori illustri. Tali letture sono accompagnate da schede critiche di approfondimento dedicate ad alcuni dei capolavori esposti – in un corpus di più di 400 opere -, da una selezione di scritti originali dell'artista, alcuni dei quali inediti in Italia, e da una serie di saggi storici a firma di grandi protagonisti della letteratura critica intorno a Max Ernst e al Surrealismo, quali André Breton, Georges Bataille, Paul. Éluard, Rosalind Krauss, Claude Lévi-Strauss.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

In episode 243 UNP founder and curator Grant Scott is in his shed looking to the future whilst reflecting on the evolution of cameras, AI portraits and listening to photo talk. Plus this week, photographer Gautier Deblonde takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Gautier Deblonde is a French photographer, renowned for his portraits of key international artists and a practice that is situated between reportage and documentary. Born and raised in France, he moved to London in 1991 to work as a photographer. He works closely with his artist subjects, photographing their working spaces and in doing so their contributions to the art world. Deblonde's subjects include Damien Hirst, Gilbert & George, Jeff Koons, Antony Gormley and Ron Mueck. His book Atelier, published by Steidl, captured sixty-nine artist studios in panorama, providing a glimpse behind the scenes to the source of artistic creation, and his book Artists, published by Tate Gallery in 1999, brought together a number of his artist portraits. Projects have included True North (2009), a series about Svalbard in the High Arctic exhibited at Galerie du Jour Agnès B in Paris, and Still Life: Ron Mueck at Work (2013), a documentary film commissioned by the Fondation Cartier. Deblonde's photographs of the creation and installation into the Millennium Dome of Ron Mueck's sculpture Boy won a World Press Award and were published in 2001. His works have been exhibited in a number of museums and galleries including Le Petit Palais in Paris, Tate Britain and the National Portrait Gallery in London. www.gautierdeblonde.com Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). His film Do Not Bend: The Photographic Life of Bill Jay was first screened in 2018 www.donotbendfilm.com. He is the presenter of the A Photographic Life and In Search of Bill Jay podcasts. © Grant Scott 2022

Les Amis des Beaux-Arts organisent la masterclass de Bertrand Lavier, en dialogue avec Bernard Blistène. Né en 1949 à Châtillon sur Seine, Bertrand Lavier vit et travaille à Paris et Aignay-le-Duc, près de Dijon (France). Bertrand Lavier est aujourd'hui l'une des figures majeures de la scène artistique contemporaine. Virtuose et inventif, il ne cesse de détourner les objets de la réalité, leurs codes et leurs représentations pour les "transfigurer" en œuvres d'art. Le monde des images lui appartient. Il s'en amuse et construit avec précision une œuvre où l'humour tient d'une mécanique de précision incisive. Son travail a fait l'objet d'un nombre considérable d'expositions personnelles et collectives dans le monde entier parmi lesquelles : au Centre Pompidou, au Musée d'Art Moderne de la Ville de Paris, au Grand Palais, au Musée du Louvre, au Musée d'Orsay, au musée du quai Branly–Jacques Chirac, au Palais de Tokyo, à la Monnaie de Paris, à la Bourse de Commerce–Pinault Collection à Paris et à la Punta della Dogana–Pinault Collection à Venise, à la Fondation Louis Vuitton à Paris et à l'Espace Louis Vuitton à Tokyo, au Château de Versailles, à la Fondation Vincent van Gogh à Arles, au Consortium de Dijon, à la Tate Gallery et à la Serpentine Gallery de Londres, à la Villa Sauber à Monaco, au Palais des Beaux Arts à Bruxelles, au Musée Middelheim à Anvers, au Martin Gropius Bau à Berlin, à la Haus der Kunst à Munich, à la Kunsthalle Fridericianum à Cassel, à la Frankfurter Kunstverein à Francfort sur le Main, au MAMCO Musée d'art moderne et contemporain à Genève, à la Kunsthalle de Berne, au Macro Museo d'Arte Contemporanea di Roma et à la Villa Médicis à Rome, au mumok museum moderner Kunst stiftung Ludwig Wien à Vienne, au musée de l'Ermitage à Saint Pétersbourg, au Solomon R. Guggenheim Museum, au MoMA PS1 et au Swiss Institute à New York, au Musée d'Art Contemporain de San Diego, à la Maison Hermès Dosan Park à Séoul, au Hong Kong Museum of Art, à l'Hôtel Le Bristol, Paris, ainsi que dans le cadre de la Biennale de Venise. Son travail est actuellement l'objet d'une exposition personnelle à la Fosun Foundation à Chendgu (Chine). Sa sculpture Quelque chose de… , conçue pour rendre hommage à Johnny Hallyday, est installée sur l'esplanade Johnny Hallyday (8 boulevard de Bercy) à Paris depuis septembre 2021. Bernard Blistène, né en 1955 à Paris, est un historien de l'art, conservateur et directeur de musées français. Il a été conservateur puis directeur du Musée national d'art moderne, entre 2013 et 2021. Il avait été précédemment directeur des Musées de Marseille, Inspecteur général de la création du Ministère de la Culture et directeur du Département du développement culturel du Centre Pompidou. On lui doit plus d'une centaine d'expositions à travers le monde ainsi que la création du Nouveau festival du Centre Pompidou en 2009. En 2021, Bernard Blistène est nommé Président du programme « Mondes Nouveaux », voulu par le Président de la République et destiné aux artistes de toutes disciplines. Lundi 12 décembre 2022 Amphithéâtre des Loges Crédit photo : © Archives kamel mennour, 2022

In this episode Gary Mansfield speaks to Beth Cullen Kerridge (@bethcullenkerridge)Beth Cullen Kerridge studied at John Moores in Liverpool, and on to postgrad at the Royal College of Art, which was a springboard on to the London art scene, with two of the London Parks Showing her work consecutively.She then showed in many exhibitions in the capital and around England, Commercial site-specific sculpture for her home town of Stoke on Trent.She honed her craft working in foundries and producing works for Edwardo Paolozzi, Elisabeth Frink and Alberto Giacometti.For eight years she was lucky enough to work closely as a Studio Assistant with the legendary Mike Bolus, for another champion Sir Anthony Caro. With Tony she worked on large scale projects working with Sir Norman Foster on the Millennium Bridge, Richard Rodgers, The Tate Gallery, and working on shows at the Venice Biennale and Marlborough Gallery New York, and the Baptistery Chapel of Light Bourborg France.For more information on the work of Beth Cullen Kerridge go to https://bethcullensculpture.co.ukTo Support this podcast from as little as £3 per month: www.patreon/ministryofartsFor full line up of confirmed artists go to https://www.ministryofarts.orgEmail: ministryofartsorg@gmail.comSocial Media: @ministryofartsorg Hosted on Acast. See acast.com/privacy for more information.

Ben Luke talks to John Akomfrah about his influences—including writers, musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work.Akomfrah was born in Accra, Ghana, in 1957 but has been based in London since he was a child. From his early years with the Black Audio Film Collective to his recent works as a solo artist, he has explored major issues—including racial injustice, colonialist legacies, diasporic identities, migration and climate change—through a distinctive approach to memory and history. First shown on television and in the cinema, his films are increasingly made for museums and galleries, in the form of ambitious, often epic, multi-screen video installations. He is one of the great film-makers of the last few decades. He discusses discovering Jackson Pollock through Ornette Coleman's Free Jazz album, his early experiences of the Tate Gallery and ongoing love of J.M.W. Turner's paintings, his passion for John Milton's Paradise Lost and Virginia Woolf's The Waves, and his enduring engagement with music from post-punk to John Luther Adams. He also gives us insight into his studio life and answers our usual questions, including the ultimate one: what is art for?John Akomfrah: Purple, Hirshhorn Museum, Washington, D.C., 28 October–summer 2023; The Unfinished Conversation, Tate Britain, London, until the end of 2022. A new work will be shown at the Sharjah Biennial, 7 February-11 June 2023, and The Box, Plymouth, UK, from December 2023. Hosted on Acast. See acast.com/privacy for more information.

Craig David joins Julia Bradbury and Richard Coles. The singer-songwriter found fame age 18 with ‘Rewind' and over the next 22 years dealt with the highs and lows of fame. Craig talks about his career, overcoming obstacles and rediscovering his good vibes. Kwesia aka City Girl in Nature grew up in Deptford, an inner city area of London. Growing up Kwesia dealt with violence and trauma but an opportunity to go to the Peruvian Amazon rainforest changed her life and she now works to share her love and passion for the outdoors. Sandy Nairne was deputy director of London's Tate Gallery back in 1994 when he was woken in the early hours to be told that two Turner paintings, on loan from the Tate, had been stolen in Frankfurt. They were worth £30 million. He became the person responsible for tracking them down, which would take eight and a half years. Jamie Oliver shares his Inheritance Tracks: (Sittin' On) The Dock Of The Bay by Otis Redding and Only To Be With You by Roachford. Susannah Constantine made her name as a stylist in What Not To Wear. She talks about her life, from being an 80s IT girl to the impact of her mother's illness, and her own alcoholism. Craig David's new album 22 is out now and his book What's Your Vibe is out on the 6th October. Kwesia features in a new podcast called Waterland's from The Wildfowl and Wetlands Trust. Catching the Art Thieves is on the BBC iPlayer now. One by Jamie Oliver is out now Ready for Absolutely Nothing by Susannah Constantine is out now. Producer: Claire Bartleet

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Rhodri Davies on why he's not an EA, published by Sanjay on August 18, 2022 on The Effective Altruism Forum. Rhodri Davies is a smart, reasonable, and well-respected commentator on philanthropy. Many people who follow charity and philanthropy in the UK (outside of EA) are familiar with his blog. He also has a background in maths and philosophy at Oxford (if I remember correctly) so he's exactly the sort of person that EA might attract, so it should be of interest to the EA movement to know why he didn't want to sign up. The critique that I most liked was the one entitled "Is EA just another in a long line of attempts to “rationalise” philanthropy?" I've copied and pasted it below. Rhodri has spent a lot of time thinking about the history of philanthropy, so his perspective is really valuable. Is EA just another in a long line of attempts to “rationalise” philanthropy? The dose of historical perspective at the end of the last section brings me to another one of my issues with EA: a nagging suspicion that it is in fact just another in a very long line of efforts to make philanthropy more “rational” or “effective” throughout history. The C18th and early C19th, for instance, saw efforts to impose upon charity the principles of political economy (the precursor to modern economics which focused on questions of production, trade and distribution of national wealth – as exemplified in the work of writers such as Adam Smith, Thomas Malthus and David Ricardo). Then in the C19th and early C20th the Charity Organisation Society and Scientific Philanthropy movements waged war on the perceived scourge of emotionally driven “indiscriminate giving”. Charity Organization Society, by Henry Tonks 1862-1937. (Made available by the Tate Gallery under a CC 3.0 license http://www.tate.org.uk/art/work/T11004) This perhaps bothers me more than most people because I spend so much of my time noodling around in the history of philanthropy. It also isn't a reason to dismiss EA out of hand: the fact that it might have historical precedents doesn't invalidate it, it just means that we should be more critical in assessing claims of novelty and uniqueness. It also suggests to me that there would be value in providing greater historical context for the movement and its ideas. Doing so may well show that EA is genuinely novel in at least some regards (the idea of total cause agnosticism, for instance, is something that one might struggle to find in previous attempts to apply utilitarian thinking to philanthropy). But the other thing the history of philanthropy tends to show is that everyone thinks at the time that their effort to make giving “better” or “more rational” is inherently and objectively right, and it is often only with the benefit of hindsight that it becomes clear quite how ideologically driven and of their time they actually are. For my money, it is still an open question as to whether future historians will look back on EA in the same way that we look back on the Charity Organisation movement today. The other thing that historical perspective brings is the ability to trace longer-term consequences. And this is particularly important here, because efforts to make charity more “rational” have historically had an unfortunate habit of producing unintended consequences. The “scientific philanthropy” movement of the early 20th century, for instance (which counted many of the biggest donors and foundations of the era among its followers) had its roots in the 19th century charity organisation societies, which were primarily concerned with addressing inefficiency and duplication of charitable effort at a local level, and ensuring that individual giving was sufficiently careful to distinguish between ‘deserving' and undeserving' cases (as outlined further in this previous article). Over time, how...

"those paintings that sugar magnate pest is trying to foist on us"

Today we're digging into the parable of the Wise and Foolish Bridesmaids from Matthew's gospel, plus we look at Jesus' most rebellious actions.  Notes Visit us on Facebook https://www.facebook.com/subversiveundercroft Episcopal Handbook - Here  Jon's Convention coverage is at Episcopal Journal Music Be Thou My Vision, Jaimie Jorge Stump the Priest Theme, Kristin Burkholder Bring a Torch Jeanette Isabella, Aaron Devries   Image: The Parable of the Wise and Foolish Virgins (1822) by William Blake, Tate Gallery

In this episode, we discuss minimalism at the Tate Gallery. And the dilemma behind a pile of bricks. Music Title: Dear Autum by Iksonmusic.

Talk Art series 13 continues!!! We meet British sculptor and contemporary visual artist Hew Locke. The artist shares the inspiration behind his decades of work and reflects on the process of making his new and exciting large-scale installation 2022 Tate Britain Commission, The Procession.A procession is part and parcel of the cycle of life; people gather and move together to celebrate, worship, protest, mourn, escape or even to better themselves. This is the heart of this ambitious new project. The Procession invites visitors to ‘reflect on the cycles of history, and the ebb and flow of cultures, people and finance and power.' Tate Britain's founder was art lover and sugar refining magnate Henry Tate. In the installation Locke says he ‘makes links with the historical after-effects of the sugar business, almost drawing out of the walls of the building,' also revisiting his artistic journey so far, including for example work with statues, share certificates, cardboard, rising sea levels, Carnival and the military.Throughout, visitors will see figures who travel through space and time. Here, they carry historical and cultural baggage, from evidence of global financial and violent colonial control embellished on their clothes and banners, alongside powerful images of some of the disappearing colonial architecture of Locke's childhood in Guyana.The installation takes inspiration from real events and histories but overall, the figures invite us to walk alongside them, into an enlarged vision of an imagined future."What I try to do in my work is mix ideas of attraction and ideas of discomfort – colourful and attractive, but strangely, scarily surreal at the same time." Hew Locke.Locke was born in Edinburgh, UK, in 1959; lived from 1966 to 1980 in Georgetown, Guyana; and is currently based in London. He obtained a B.A. Fine Art in Falmouth (1988) and an M.A. Sculpture at the Royal College of Art, London (1994). In 2000 he won both a Paul Hamlyn Award and an East International Award.His work is represented in many collections including those of the The Government Art Collection, The Pérez Art Museum Miami, The Tate Gallery, The Arts Council of England, The National Trust, The Metropolitan Museum of Art, New York, The Brooklyn Museum, New York, 21c, The New Art Gallery Walsall, The Victoria & Albert Museum, The Imperial War Museum, The British Museum and The Henry Moore Institute, Leeds.Follow @HewDJLocke on Instagram and visit his official website: http://www.hewlocke.net/Learn more about his new installation at Tate, it's free to visit until 22nd January 2023: https://www.tate.org.uk/whats-on/tate-britain/hew-locke See acast.com/privacy for privacy and opt-out information.

"nothing in the Tate story reflects well on the government"

Diesmal taucht „Ausgesprochen Kunst“ in die farbenfrohe Welt des englischen Künstlers David Hockney ein, dessen Werke noch bis zum 19. Juni 2022 im Wiener Kunstforum zu sehen sind. Die Retrospektive entstand in Zusammenarbeit mit der Tate Gallery und zeigt neben der wohl bekanntesten Werkgruppe Hockneys - den großformatigen Swimming Pool Bildern - auch Landschaften, Druckgraphiken, Videoinstallationen und seine vielschichtigen Doppelporträts, die es Alexander und Herbert Giese besonders angetan haben. In der Ausstellungsbesprechung widmen sich die beiden auch der Biographie des mittlerweile 84-jährigen Künstlers und verraten, welches seiner Werke sie gerne ankaufen würden. Kontakt: redaktion@gieseundschweiger.at Website: https://www.gieseundschweiger.at/de/ Redaktion: Fabienne Pohl, Lara Bandion; Musik: Matthias Jakisic; Sprecherin: Sarah Scherer; Grafische Gestaltung: Studio Riebenbauer Link zur Ausstellung: https://www.kunstforumwien.at/de/ausstellungen/hauptausstellungen/319/david-hockney-insights

Sheena Wagstaff leads the Met's commitment to modern and contemporary art, including the design of the international exhibition program at The Met Breuer (2016-20), artist commissions, and collection displays. She has also curated numerous shows at the Met, amongst which are Gerhard Richter: Painting After All (2020); Like Life: Sculpture, Color, and The Body (1300-Now) (2018); and Nasreen Mohamedi (2016), and oversaw the David Hockney exhibition (2017). Significant acquisitions have been brought into the collection under her leadership, including works by Pablo Bronstein, Cecily Brown, Phil Collins, Tacita Dean, Peter Doig, Nick Goss, Chantal Joffe, Hew Locke, Sarah Lucas, Adam McEwen, Steve McQueen, Lucy McKenzie, Cornelia Parker (who was also featured as The Met's 2016 Roof Garden Commission artist), Bridget Riley, Rachel Whiteread, as well as Vanessa Bell, Lucian Freud, Roger Fry, and Barbara Hepworth. A new Met Façade commission, and an exhibition, each by British artists, are planned in the coming years. With a curatorial team representing expertise from across the globe, she is building a distinctive collection for the Met, both culturally and geographically, to reflect the historic depth of its global collections. Before joining the Met, Wagstaff was Chief Curator of Tate Modern, London, where, for 11 years, she was responsible for initiating the exhibition program, the Turbine Hall artist commissions, and contributing to the conceptual framework of collection displays. With the Tate Director, she worked with architects Herzog & de Meuron on the design for the Tate Modern Switch House building. She curated noteworthy exhibitions such as Roy Lichtenstein; John Burke + Simon Norfolk: Photographs from the War in Afghanistan; Jeff Wall Photographs 1978-2004; Darren Almond: Night as Day; and Mona Hatoum: The Entire World as a Foreign Land. Over the course of her career, Wagstaff has worked for the Museum of Modern Art, Oxford; the Whitechapel Art Gallery, London; The Frick Art Museum, Pittsburgh; and Tate Britain, London, where she played a seminal role in its transformation from the former Tate Gallery. She is a member of the Foundation for the Preservation of Art in Embassies (FAPE), and from 2013-2019, she was a United States Nominating Committee Member for Praemium Imperiale. She has written and edited many publications, and lectured widely. Brought to you by the British Consulate General, New York. Follow us on Twitter and Instagram.

In episode 44 UNP founder and curator Grant Scott is in his shed considering photo education within universities and transferable skills all photographers have but may not have considered as relevant to other films of visual communication.  Plus this week photographer David Levenson takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' You can read more about Grant's views on photographic education here https://unitednationsofphotography.com/2016/04/20/im-a-photographer-let-me-in-opening-the-door-to-photo-education/ You can read the article Grant mentions in this week's podcast concerning the future of photography here https://unitednationsofphotography.com/2019/02/03/where-next-for-photography-and-the-photographer/ Based in London, David has been a photographer since he left school, learning his craft at a Fleet Street press agency. He covered news stories around London, including the Iranian Embassy siege, the Brixton riots and the early days of Lady Diana. Throughout the 1980's he photographed Princess Diana and the Royal Family, visiting over fifty countries and producing sixteen illustrated books on their travels. His work is published every week by leading magazines, newspapers and websites around the world including Time, Newsweek, Vanity Fair, Paris Match, The Guardian, The Times, Daily Telegraph, Daily Mail, Daily Express, LA Times, New York Times, New Yorker, The Spectator, New Statesman, La Vanguardia, Irish Times, Huffington Post, Sunday Times and the Observer. David's work is held in MOMA, New York, the Tate Gallery, London and the National Art Library at the Victoria and Albert Museum, London. http://davidlevenson.com You can also access and subscribe to these podcasts at SoundCloud https://soundcloud.com/unofphoto on iTunes https://itunes.apple.com/gb/podcast/a-photographic-life/id1380344701 on Player FM https://player.fm/series/a-photographic-life and Podbean www.podbean.com/podcast-detail/i6uqx-6d9ad/A-Photographic-Life-Podcast Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer in Professional Photography at the University of Gloucestershire, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His next book New Ways of Seeing: The Democratic Language of Photography will be published by Bloomsbury Academic in 2019. He is currently work on his next documentary film project Woke Up This Morning: The Rock n' Roll Thunder of Ray Lowry www.wokeupthismorningfilm.com. His documentary film, Do Not Bend: The Photographic Life of Bill Jay has been screened across the UK and the US in 2018 and will be screened in the US and Canada in 2019. © Grant Scott 2019