Podcasts about Tate Modern

Since Labour returned to power in the 2024 UK General Election, announcing their landslide victory with a speech at the Tate Modern, little has been made of their cultural policy. In this free episode, Juliet talks to Dr David Hesmondhalgh – Professor of Media, Music and Culture at the University of Leeds, and the author of Culture, Economy and Politics: The Case of New Labour (2015) and five editions of The Cultural Industries – about Labour's approach to art and culture, looking at their policies and the ideology behind them. Looking primarily at England as cultural policy is devolved in the rest of the UK, Juliet and David discussed the move away from Jeremy Corbyn's arts policies; Labour's Plan for the Arts, Culture and Creative Industries and the 2024 manifesto; the centrality of local government and education to cultural policy; Margaret Hodge's review of Arts Council England; the timidity of Labour's approach and the limits of their idea of ‘creative industries'; how this has differed (or not) from the Conservative and New Labour governments before them; and the need to shift the emphasis from financial returns to the intrinsic social and cultural importance of the arts. Subscribe to us on Patreon at https://www.patreon.com/c/suite212 for £3.50 per month to get a full list of references from this episode, as well as bonus episodes, Juliet's archived articles, and more.

In this special bonus episode of the Anglotopia Podcast, Jonathan Thomas launches an experimental new monthly format: a London events guide covering what's actually on in the city this month. June is arguably London's finest month — 16 to 17 hours of daylight, the longest evenings of the year, and an events calendar absolutely bursting at the seams. Jonathan walks through everything worth knowing about June in London: the major royal events including Trooping the Colour and Royal Ascot, the blockbuster summer exhibitions at Tate Modern, Tate Britain, the Royal Academy, the National Portrait Gallery, the V&A, and more, plus what's on in London theater from Shakespeare's Globe to the West End, live music at Wembley and the Roundhouse, and practical tips for surviving — and thriving in — a London heat wave. If this episode proves popular, Jonathan will make it a monthly fixture. Let him know what you think in the comments. Links Royal Events ~Trooping the Colour — Official Info~ ~Royal Ascot~ ~Wimbledon Tickets & Ballot~ ⠀Exhibitions — Book Ahead ~Frida Kahlo at Tate Modern~ ~Royal Academy Summer Exhibition (opens June 16)~ ~Anish Kapoor Retrospective at Hayward Gallery (opens June 16)~ ~Marilyn Monroe at National Portrait Gallery~ ~Barbara Hepworth at the Courtauld Gallery (from June 1)~ ~Schiaparelli: Fashion Becomes Art at the V&A~ ~Wes Anderson Exhibition at the Design Museum~ ~James McNeill Whistler Retrospective at Tate Britain~ ~The Queen's Fashion at The King's Gallery~ (sold out through 2026 — book 2027 dates now) ~Inside Aardman: Wallace & Gromit at Young V&A~ ~Hokusai: 36 Views of Mount Fuji at Dulwich Picture Gallery~ (closes June 30) ⠀Theater ~A Midsummer Night's Dream at Regent's Park Open Air Theatre (from June 20)~ ~Much Ado About Nothing at Shakespeare's Globe (from June 11)~ ~To Kill a Mockingbird — New West End Adaptation (opens June 25)~ ~Cyrano de Bergerac — West End (opens June 13)~ ~Buy West End Tickets via Anglotopia's Link~ (supports Anglotopia) ~TKTS Booth at Leicester Square — Half-Price Day Tickets~ ⠀Long-Running West End Shows The Lion King Hamilton Wicked Les Misérables Matilda Mamma Mia Six Harry Potter and the Cursed Child (almost always sold out — book well ahead) Sinatra — The Musical ⠀Live Music Harry Styles at Wembley Stadium (from June 12) Olivia Dean at the O2 (from June 12) Orville Peck at the Roundhouse, Camden ⠀Practical Resources ~National Gallery Extended Summer Hours (from July 1)~ ~Londontopia London Events Calendar~ ~Argos UK — Buy a Fan on Arrival~ ~Anglotopia June London Events Article~ (link to article) ~Friends of Anglotopia Club~ ⠀ Takeaways June is arguably London's best month to visit — 16 to 17 hours of daylight, reliably pleasant weather, and the richest events calendar of the year, though it is also peak tourist season with hotel prices running 20 to 40 percent above spring rates. Trooping the Colour — the monarch's official birthday parade — is the major royal event of the year in 2026. Even without a ballot ticket to Horse Guards Parade, you can experience the procession on the Mall and the balcony appearance at Buckingham Palace by arriving very early and staking out a good spot. Every major summer blockbuster exhibition in London requires advance booking — some, like The Queen's Fashion at The King's Gallery, are already sold out through 2026. Book tickets as soon as you finish listening, even if your trip dates aren't confirmed yet. The Frida Kahlo survey at Tate Modern, the James McNeill Whistler retrospective at Tate Britain, and the Marilyn Monroe exhibition at the National Portrait Gallery are Jonathan's top three must-book exhibition picks for the month. The Royal Academy Summer Exhibition — the world's largest open submission art show, running since 1769 — is a uniquely chaotic, democratic, and wonderful experience where everything on the walls is for sale and any artist can enter. Shakespeare's Globe is staging Much Ado About Nothing from June 11, and Regent's Park Open Air Theatre opens A Midsummer Night's Dream on June 20 — watching Shakespeare outdoors on a long June evening is one of the quintessential London summer experiences. London generally does not have air conditioning in older buildings, hotel rooms, or most tube lines. The first thing you should do after arriving in summer is buy a fan — Jonathan recommends going straight to Argos, Britain's version of a catalog store, for an affordable one. The tube's older lines (Central, Piccadilly) get brutally hot in summer due to London clay absorbing and retaining heat underground. The Elizabeth line is fully air conditioned and runs east-west across the city — use it as much as possible in a heat wave. The National Gallery is experimenting with extended summer evening hours, staying open until 7 PM most evenings and until 9 PM on Fridays from July 1 — Jonathan's suggestion: have an early dinner, then walk over for a free evening of world-class art. Don't try to pack too much in. Pick three or four things you genuinely care about, build your days around those, and leave time to wander, sit in Green Park with a deck chair, or walk along the Thames in the long evening light. June in London is as much about the atmosphere as the attractions. ⠀ Soundbites "The light is the headline for June. You get sixteen to seventeen hours of daylight. Twilight stretches from around eight PM to nearly ten PM. You can have a full day of exploring, sit down for dinner, and still walk home along the Thames and have some daylight." — Jonathan on why June is London's best month. "If you've ever wondered what the best month to visit London is, a lot of people will quietly tell you it's this one." — Jonathan on June in London. Plan your day around it. Get up stupidly early — three, four, five in the morning — get your spot on the Mall and soak up the atmosphere. It'll be like a party atmosphere." — Jonathan on how to experience Trooping the Colour without a ticket. "The Queen's Fashion at The King's Gallery is sold out for the rest of the year, and I know a lot of people are gonna be really disappointed when they try to get tickets and they simply can't." — Jonathan's warning on the most in-demand exhibition of the summer. "The walls are packed from floor to ceiling and everything is for sale. It's chaotic and wonderful. And it's a great way to see up-and-coming artists and established artists side by side." — Jonathan on the Royal Academy Summer Exhibition. "Shakespeare under the open sky in one of London's loveliest parks on a warm June evening — it doesn't get dark till ten PM anyway. Enjoy some champagne, enjoy some theater out in the green. That's my top theater pick for the month." — Jonathan on Regent's Park Open Air Theatre. "The first thing you should do after you land is go to what the British call an ironmonger — a hardware store — and buy a fan. Don't skimp. It is essential for Americans traveling in Europe." — Jonathan's number one summer travel tip. "The London clay is a heat sink. It absorbs heat and then it doesn't let it back out. So the tube gets really hot in the summer. If you are prone to heat issues, avoid the tube except the Elizabeth line, which is fully air conditioned." — Jonathan on navigating London in a heat wave. "I sat there in the rain in the 40s, got soaking wet. And I — not exaggerating — almost got hypothermia. It was July. I could not warm up when I got back to the hotel because the heating wasn't on and there weren't enough blankets because it was July." — Jonathan's cautionary tale about British summer weather. "Argos is exactly like Service Merchandise — you go in, there's a big catalog, you pick your thing, and it comes out on a conveyor belt. Get a fan. Don't even look at the weather forecast first. Just trust me — you're going to need a fan." — Jonathan's most practical London summer tip. ⠀ Chapters 00:21 Introduction — Jonathan launches the experimental monthly London events format 01:15 The Feel of June in London — Long days, the light, and why June is special 02:20 June Weather — What to expect, heat waves, and the maritime humidity problem 03:45 Peak Tourist Season — Crowds, hotel prices, and why June still beats July 05:00 Trooping the Colour — What it is, how to see it without a ticket, and Jonathan's tips for getting a good spot 08:30 Royal Ascot — Fascinators on the tube, the royal procession, and how to get tickets 10:00 Wimbledon — The ballot, resale tickets, strawberries and cream, and what to do if you can't get in 11:30 How to Book Exhibitions — Why advance booking is non-negotiable and the Queen's Fashion sellout warning 13:00 Frida Kahlo at Tate Modern — Jonathan's pick and why Tate Modern is worth seeing for the building alone 14:30 Royal Academy Summer Exhibition (June 16) — The world's largest open submission art show 15:30 Anish Kapoor at the Hayward Gallery (June 16) — The Cloud Gate connection and why it's worth seeing 16:15 Marilyn Monroe at the National Portrait Gallery — Just opened, book fast 17:00 Barbara Hepworth at the Courtauld Gallery — And why Somerset House is worth a visit anyway 17:45 Schiaparelli at the V&A — Fashion exhibitions and why the V&A excels at them 18:15 Wes Anderson at the Design Museum — A treat for film fans 18:45 James McNeill Whistler at Tate Britain — A sellout show, book immediately 19:30 Wallace & Gromit at Young V&A — The Aardman exhibition Jonathan is hoping to catch in August 20:15 Closing This Month — Mikalojus Čiurlionis at the Royal Academy (closes June 21) and Hokusai at Dulwich (closes June 30) 21:00 Theater — Why June is the best time for London theater 21:30 Regent's Park Open Air Theatre — A Midsummer Night's Dream, Jonathan's top pick of the month 22:00 Shakespeare's Globe — Much Ado About Nothing from June 11 22:30 New West End Openings — To Kill a Mockingbird (June 25) and Cyrano de Bergerac (June 13) 23:00 Long-Running Shows — Lion King, Hamilton, Wicked, Six, Les Mis, and how to get discount tickets 24:00 Live Music — Harry Styles at Wembley, Olivia Dean at the O2, Orville Peck at the Roundhouse 25:00 Practical Tips: Heat — Does London have air conditioning? (Mostly no) 26:30 The Fan Imperative — Buy one at Argos, the British Service Merchandise 28:30 Pack for All Weathers — The July outdoor concert near-hypothermia story 30:00 Humidity and Heat — Why British summer heat hits differently than dry American heat 31:00 Use the Long Days — 17 hours of light, late museum hours, rooftop bars, evening walks 32:00 National Gallery Extended Hours — Stay open till 7 PM, Fridays till 9 PM from July 1 33:00 Don't Overpack Your Itinerary — Pick three or four things, leave time to wander 34:00 Wrap-Up — Londontopia events calendar, listener feedback request, Friends of Anglotopia Video Version

On this month's 21andsensory Podcast* I have Nathan Dunne as my special guest. Nathan was born in Brisbane, Australia and grew up in India. After graduating from the University of Sydney with the University Medal, he studied art history at Cambridge University and received a PhD from Birkbeck College, University of London. He has lectured at Harvard and Yale, and also worked for several years at Tate Modern. As a journalist and critic, he has contributed to many publications, including The Washington Post, The Atlantic, The Boston Globe, The Guardian, Slate and Artforum. Nathan is the author of 'When Nothing Feels Real', a memoir about depersonalisation which was published in June 2025. We have a really interesting chat about DPDR (depersonalisation and derealisation) and the onset for Nathan and how he has experienced it and Nathan and how he has experienced it and was diagnosed. We also discuss my own experiences and diagnosis of DPDR and how it affects me, then mention the great work that Unreal Charity do!*trigger warning for content covering self harm and mental health strugglesNathans links:Nathan's website and book: ‘When Nothing Feels Real' (https://www.nathandunne.com/)Nathan's Guardian Article: 'I was enjoying a midnight swim. Then my girlfriend kissed me – and the nightmare began' (https://www.theguardian.com/lifeandstyle/2025/jun/08/i-was-enjoying-a-midnight-swim-then-my-girlfriend-kissed-me-and-the-nightmare-began)Nathan's Instagram (https://www.instagram.com/nathanadunne/)Mentioned:Unreal Charity (UK based) (https://www.unrealcharity.com/)What is DPDR? (https://www.unrealcharity.com/what-is-dpdr)Eye movement desensitisation and reprocessing (EMDR) information: https://emdrassociation.org.uk/Repetitive Transcranial Magnetic Stimulation (rTMS) information https://www.unrealcharity.com/treatment-care)Maudsley Clinic Information (UK based) NHS South London and Maudsley (https://slam.nhs.uk/dissociative-disorders)Unreal charity blog (https://www.unrealcharity.com/blog)Joe's Wilkins video of a clinic walkthrough: The Maudsley Depersonalisation Disorder Service: Q&A With Dr Claudia Hallett (https://youtu.be/5xvC-o5tnpM?si=sJ3Wo2S3L1Oe0Z2G)Emily's links:Emily's blog link to her experiences of DPDR, including her illustration: https://www.unrealcharity.com/blog/emilys-story-coming-to-terms-with-dpdr-ezjgz-cxwb2-lrp2x-4j56w-5ezjj)

When Juliet Mitchell's Psychoanalysis and Feminism was published in 1974 Freudianism was seen by most feminists as ineradicably patriarchal and inimical to the women's movement. Mitchell's brilliant exegesis, drawing on Lacan and Laing as well as Freud himself, instead sees Freud's asymmetrical view of masculinity and femininity as reflecting the realities of patriarchal culture, and seeks to use his critique of femininity to critique patriarchy itself. To mark a new edition of her seminal work from Verso Mitchell revisits its arguments in conversation with curator, art historian and writer Frances Morris who was, from January 2016 to February 2023, director of the Tate Modern. More from the Bookshop: Discover our author of the month, book of the week and more: ⁠https://lrb.me/bkshppod⁠ From the LRB: Subscribe to the LRB: ⁠⁠⁠https://lrb.me/subsbkshppod Close Readings podcast: ⁠⁠https://lrb.me/crbkshppod LRB Audiobooks: ⁠⁠https://lrb.me/audiobooksbkshppod Bags, binders and more at the LRB Store: ⁠⁠https://lrb.me/storebkshppod Get in touch: podcasts@lrb.co.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

We're continuing my conversation with Nabila Abdel Nabi, Senior Curator of International Art at Tate Modern and Lead of the Hyundai Tate Research Centre: Transnational. On this episode, we talk about what those specialisations really mean, the paradigm shifts happening in the art world, and how a curator like Nabila collects feedback from the Museum's audience.This episode is brought to you by:EFG Hermes One: your one app for investing in more than 35 stock markets. Start investing today!Azza Fahmy JewelleryOn this episode, Nabila is wearing Azza Fahmy's:Lotus Bouquet EarringsBlossom Lotus RingWinged Scarab CuffMalak is wearing Azza Fahmy's:T-Lock Love NecklaceGold Floral Tribal EarringsGold Roman Chain BangleMusic ID: 5ROQ12DERYHSUUVQ

Time may be the most silent material in architecture. And yet, it is everywhere.In this episode, I invite you to reflect on our relationship with time through the lens of architecture. At a moment when environmental concerns, climate challenges, and debates about the future of our territories are reshaping our societies, how can we move beyond simplistic oppositions between generations, between heritage and creation, between preservation and transformation?From the Basilica of Saint-Denis to the Tate Modern, from the memory embedded in places to the challenges of long-term thinking, I share a personal reflection shaped by years of research, professional practice, and conversations with architects.Because architecture is not only an art of space. It is also, profoundly, an art of time.Audio: comdarchipodcast / This English version was generated using AI with voice cloning, inspiration of the speakers' timbre (Anne-Charlotte).Teaser image © Dmitry Zhukov___If you like the podcast do not hesitate:. to subscribe so you don't miss the next episodes,. to leave us stars and a comment :-),. to follow us on Instagram @comdarchipodcast to find beautiful images, always chosen with care, so as to enrich your view on the subject.Nice week to all of you ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Le temps est peut-être le matériau le plus silencieux de l'architecture. Et pourtant, il est partout.Dans cet épisode, je vous invite à réfléchir à notre rapport au temps à travers l'architecture. Alors que les préoccupations environnementales, les enjeux climatiques et les débats sur l'avenir des territoires traversent nos sociétés, comment éviter les oppositions simplistes entre générations, entre patrimoine et création, entre conservation et transformation ?De la basilique Saint-Denis à la Tate Modern, de la mémoire des lieux aux défis du temps long, je partage ici une réflexion personnelle nourrie de mes années de recherche, de pratique professionnelle et de rencontres avec les architectes.Car l'architecture n'est pas seulement un art de l'espace. Elle est aussi, profondément, un art du temps.Audio comdarchipodcastImage teaser © Alexandra Lande / Musée d'Orsay____Si le podcast COM D'ARCHI vous plaît n'hésitez pas :. à vous abonner pour ne pas rater les prochains épisodes,. à nous laisser des étoiles et un commentaire, :-),. à nous suivre sur Instagram @comdarchipodcast pour retrouver de belles images, toujours choisies avec soin, de manière à enrichir votre regard sur le sujet.Bonne semaine à tous ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

I'm joined today by Nabila Abdel Nabi, Senior Curator for International Art at Tate Modern and Lead of the Hyundai Tate Research Center: Transnational. When Nabila and I first met a few years ago I was immediately impressed by her sincerity and depth. She is thoughtful and intentional in how she interacts with the world and those qualities make for deep and interesting conversations. We talk about her curatorial work, in particular her focus on transnational and transcultural approaches to art history and the importance of better institutional support for parents. On Part 2 of our conversation coming out next week, Nabila and I talk about the evolution of the museum-artist dynamic and drill down into something that is especially interesting to me—the idea of repatriating art to its country of origin.This episode is brought to you by:EFG Hermes One: your one app for investing in more than 35 stock markets. Start investing today!Azza Fahmy JewelleryOn this episode, Nabila is wearing Azza Fahmy's:Lotus Bouquet EarringsBlossom Lotus RingWinged Scarab CuffMalak is wearing Azza Fahmy's:T-Lock Love NecklaceGold Floral Tribal EarringsGold Roman Chain BangleChapters:0:00 Coming up11:17 Her pivot into the art world14:28 Being an only child17:39 Institutional support for motherhood21:09 What's next for Nabila at the Tate27:30 The Lightning Round

Johanna Calle was born in 1965 in Bogotá, where she lives and works. Following her studies in the visual arts at the Talleres Artísticos of the Universidad de los Andes in Bogotá from 1984 to 1989, Calle received a British Council scholarship in 1992 to earn a master's degree at the Chelsea College of Art and Design in London. Her work draws on a range of archival and deciphering techniques, often associated with everyday life, to address the violence of recent Colombian history and evoke the victims of forced disappearances. Johanna Calle has been honored with numerous prestigious awards, including major prizes and honorary recognitions in Colombian art salons (1996–2003), a fellowship at the Cité Internationale des Arts in Paris (2001), and international grants and residencies in Europe and the United States (2008–2013). She has been included in international biennials such as the Sydney Biennale (2016), the São Paulo Biennial (2014), SITE Santa Fe (2014), and the Istanbul Biennial (2014). Selected exhibitions include Arquitecturas, Bienvenu Steinberg & C, New York (2026); Museum of Contemporary Art Denver (2024); Hayward Gallery (2020); Josée Bienvenu Gallery, New York (2019); La Maison de l'Amérique latine, Paris (2017); Museum of Modern Art (2017); Silentes 1985–2015, Museo de Arte del Banco de la República, Bogotá, traveled to Museum Amparo, Puebla, Mexico (2015); Fondation Cartier pour l'art contemporain (2013); the Drawing Room, London (2013); Wattis Institute for Contemporary Arts in San Francisco (2012); Museum of Latin American Art in Long Beach, California (2012); Sàn Art in Ho Chi Minh City, Vietnam (2012); and San Francisco Museum of Modern Art (2011). Her work is included in institutional collections such as the Museum of Modern Art; Tate Modern; San Francisco Museum of Modern Art; Museum of Modern Art, Buenos Aires; Fondation Cartier pour l'art contemporain; Museum of Fine Arts, Houston; Museum of Latin American Art, Long Beach; Museum of Bogotá; National Museum of Colombia, Bogotá; National Bank of the Republic of Colombia, Bogotá; Cisneros Fontanals Art Foundation, Miami; Sur Collection, San Francisco; Comfenalco Antioquia, Medellín; Enersis Collection, Santiago; and Teorética Museum, San José. Johanna Calle Arquitecturas, 2026 Signed and dated on the back Nail polish on chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 3.5 in (image) Johanna Calle Arquitecturas, 2026 Signed and dated on the back Nail polish on chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 3.5 in (image) Johanna Calle Abstractas, 2026 Signed and dated on the back Erased found chromogenic print (anonymous photograph) Framed in Optium Museum Acrylic 3.5 x 6 in (image)

Celebs are no longer monoliths, Instagram is my diary and you no longer need to buy a memoir to know the intricate details of a public figure's life. Across PR campaigns, podcast appearances and TikTok lives, influencers, musicians and actors alike push to seem authentic and relatable. With those in the public eye sharing more and more, why does the incredibly personal art still manage to shock us?In this week's episode, join hosts Ione and Gina for an extra special live episode at Tate Modern as they discuss their incredible exhibition Tracey Emin: A Second Life and explore the ways classism, ableism and sexism intersect within the work of one of Britain's most notorious artists. This episode is in partnership with Tate Collective, Tate's young people scheme for 16-25 year olds. It's completely free to sign up and gives you access to £5 tickets to see shows like Tracey Emin: A Second Life. The Tracey Emin show is open until 31st August and you can get in late to see it Friday and Saturday at 9pm, and 8pm on Sundays!Support our work and become a Polyester Podcast member

D'Tracey Emin ass wuel déi bekanntste Kënschtlerin aus Groussbritannien. An den 80er an den 90er Joren ass si mat hirer rauer, provokativer Konscht zum Superstar vun der brittescher Konscht ginn. An hirem Wierk geet et em Aarmut, Sex, Mëssbrauch, Ofdreiwung an awer och em Léift a Freet. Den Tate Modern zu London kuckt elo op hir laang Karriär zréck. D'Claire Barthelemy war fir eis kucken.

Nicola Tyson was born in 1960 in London, England. She attended Chelsea School of Art, St. Martins School of Art and Central/St. Martins School of Art in London, and currently lives and works in New York. Primarily known as a painter, Tyson has also worked with photography, film, performance and the written word, in addition to running Trial BALLOON, an NYC project space in the early 90s. In 2023, Nicola Tyson: Selected Paintings 1993-2022, the most comprehensive overview of the artist's work to date, was published. In 2011, Tyson released the limited-edition book Dead Letter Men, which is a collection of satirical letters addressing famous male artists. Her unique archive of color photos documenting the London club scene of the late 1970's — Bowie Nights at Billy's Club — was the subject of shows, both in New York and London, in 2012 and 2013. In 2025, Tyson was commissioned for Hayward Gallery's public project banner. Tyson has mounted solo exhibitions at Petzel Gallery, New York (2026, 2025, 2024, 2020, 2016); Nino Mier Gallery, Los Angeles (2024); Nino Mier Gallery, Brussels (2022); Sadie Coles HQ, London (2021, 2017, 2013); The Contemporary Art Museum St. Louis, St. Louis (2017); The Drawing Room, London (2017); Nathalia Obadia, Paris (2015); Susanne Vielmetter Gallery, Los Angeles (2014); White Columns, New York (2012), among others. She has participated in group exhibitions at the Design Museum, London (2025); The Modern Art Museum of Forth Worth, Fort Worth (2022); Art Institute of Chicago, Chicago (2021); Drawing Room, London (2021, 2018); Drawing Center, New York (2020); Whitechapel Gallery, London (2018); Cleveland Institute of Art, Cleveland (2016); Wexner Center for the Arts (2013); and Museum of Modern Art, New York (2012); among others. Tyson's work is included in major collections such as Museum of Modern Art, New York; Whitney Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Philadelphia Museum of Art, Philadelphia; Museum of Contemporary Art, Chicago; UCLA Hammer Museum, Los Angeles; San Francisco Museum of Modern Art, San Francisco; Walker Art Center, Minneapolis; Corcoran Gallery of Art, Washington, D.C.; and Tate Modern, London. Nicola Tyson, Random Attachments, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York. Nicola Tyson Nature Nurture, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York. Nicola Tyson Motherload, 2026 Charcoal, conte, pastel on sanded paper 50 x 38 in 127 x 96.5 cm. Photo: Meg Symanow Courtesy of the artist and Petzel, New York.

Photographer, director, and producer Mitch Epstein joins PhotoWork with Sasha Wolf to discuss his storied career in photography, environmental activism, and artistic influences. From early inspiration by Garry Winogrand to guidance from John Szarkowski, Epstein reflects on how he evolved into a research-driven, project-based photographer focused on environmental issues. He also discusses his work in film as a production designer and co-producer on Mississippi Masala (1991) and Salaam Bombay! (1988), and shares insights on privilege, longevity, and sustaining a life in photography. https://www.mitchepstein.net Mitch Epstein has photographed the landscape and culture of America for half a century. A graduate of Cooper Union, he became a pioneer of 1970s fine-art color photography.  Epstein has been inducted into the National Academy of Design (2020) and was awarded the Prix Pictet (2011), Berlin Prize (2008), and a Guggenheim Fellowship (2002). His work has been shown and collected by museums worldwide, including New York's Museum of Modern Art, Metropolitan Museum of Art, and Whitney Museum of American Art, the National Gallery in Washington DC, The Art Institute of Chicago, Tate Modern in London, Museum of Modern Art in Paris, Los Angeles's Getty Museum and LACMA, the Amon Carter Museum in Fort Worth, TX, and the San Francisco Museum of Modern Art. Recent exhibitions include “American Nature” (photographs and multi-media installations) at the Gallerie d'Italia museum in Torino, Italy (2024-25); “In India,” (photographs and films) at Les Rencontres d'Arles in the Abbey of Montmajour, Arles, France (2022); and “Property Rights” at The Amon Carter Museum of American Art in Fort Worth, Texas (2020-21). Epstein's seventeen books, mostly published by Steidl Verlag, include Recreation (2022, 2005), Property Rights (2021), New York Arbor (2013), American Power (2009), and Family Business (2004), winner of the Kraszna-Krausz Photography Book Award. Epstein's mixed media work includes films, moving image with sound installations, and performance. In 2013, The Walker Art Center commissioned and premiered a theatrical rendition of his American Power series. Directed by Annie B. Parsons and Paul Lazar, the performance combined original live music by Erik Friedlander and live storytelling by Epstein; and included video, projected photographs, and archival material. In documentary film, Epstein was director of Dad and Retail (2003) and director of photography for India Cabaret (1988). He was production designer and co-producer for the feature films Mississippi Masala (1991) and Salaam Bombay! (1988). Epstein's most recent exhibition, American Nature, assembles three self-contained yet integrated photographic series (Old Growth, Property Rights, American Power); a multi-channel video-sound installation with tonal music by Mike Tamburo and Samer Ghadry filmed performing in the forest (Forest Waves), and a looped projection with music by David Lang, performed by Maya Beiser (Darius Kinsey: Clear Cut). Together these five pieces investigate notions of wilderness and human society; and their both collaborative and troubled co-existence. Epstein lives in New York City and Massachusetts.

TODAY on the GWA Podcast: esteemed art historian Briony Fer on the avant-garde icon, Sophie Taeuber-Arp. The Professor of History of Art at University College London and a Fellow of the British Academy, Briony Fer is one of the leading art historians in the world. Writing and publishing extensively on modern and contemporary art, specialising in the history of abstraction in the 20th century, Fer has curated monumental exhibitions on artists such as Anni Albers at the Tate Modern, Louise Bourgeois at the National Museum, Oslo, Eva Hesse at the Fruitmarket, Mel Bochner at Whitechapel, and more But the reason we are speaking with Fer today is because she has also just curated an exhibition “Sophie Taeuber-Arp: The Rule of Curves” at Hauser & Wirth Paris, and published a stunning book on the great artist, dancer, performer, puppet maker, bag weaver, teacher, stained-glass maker, sculptor, architect, and so much more, Sophie Taeuber-Arp… Born in Switzerland in 1889, Taeuber-Arp is famously associated with the Dada movement, a group of artists who formed post-devastation of World War I to make sense of a nonsensical world. Performing dance routines set to Hugo Ball poetry and turning to her geometric abstractions, full of explosions of colour, that can look equally mechanical as they are made with a human hand – as Fer writes, "diagrammatic and decorative” – Taebuer-Arp was at the forefront of modernism, conjuring new ways of working with form and colour, and exploring – and twisting – the grid, the icon of modern art, for the modern world - and I can't wait to find out more. The book: https://shop.hauserwirth.com/products/sophie-taeuber-arp-la-regle-des-courbes-the-rule-of-curves THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: www.famm.com/en/ www.instagram.com/famm_mougins // www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Mikaela Carmichael Music by Ben Wetherfield

Vi bor på Carlton Club på St James's street, klubben där det nuvarande torypartiet bildades, fast lokalerna tog de över först 1940, efter en tysk bomb. Kungen fyller åttio och fick passande nog en fin Märta Måås-Fjetterström-matta. Kungen är intresserad av hantverk. Vi har sett en fantastisk utställning om Elsa Schiaparelli på Victoria & Albertmuséet. Otroliga kreationer av den första modeskaparen som verkligen gjorde konst av sitt hantverk. Ingrid Giertz-Mårtenson kommer att skriva om utställningen i Fokus, ingen kunde göra det bättre. Tracey Emin på Tate Modern inte så kul, hon är som en hispig tonårsbrud som aldrig utvecklas. Stig Strömholm har skrivit en fantastisk understreckare om 1870 års män, apropå en bok av Per Wästberg om Bo Bergman. De hade nyanserade, vuxna liv. Johan tänker på Hans L Zetterberg och hans tal om samhällets sfärer. De har blivit färre. Lite onödigt med överpriserna för att inreda Sagerska huset. En skithistoria, men lite av Konsultsverige möter resten av Sverige. Kvartals story om SOM-undersökningarna som antagligen överskattar förtroendet för Public service och delvis finansieras av Public service är bra, men problemet har varit tydligt hela tiden: förtroendet för PS växer vänsterut, sjunker högerut. Novus konstaterar att tre av fyra upplever samtalstonen inom politiken som ohövlig. Simona Mohamsson kanske inte vet så mycket, men har gott humör i motgång. Rädda våtmarkerna har skattefuskat, men de är svenska anarkister, så de böjer sig för Förvaltningsdomstolen. Oförklarlig trötthet ej oförklarlig: träna mindre. Vi gillar fortfarande våra favoritkrogar i London: The Wolseley, Mr Chow, Simpsons-in-the-Strand och så vidare. Men London har blivit mer privat. Bra att Operan i Stockholm kan renoveras och bli kvar, tack vare privata finansiärer. Blir det bensinransonering? Vi ser fram emot gengasen. Hosted on Acast. See acast.com/privacy for more information.

Don't worry about what you don't have.   “Unto one he gave five talents, to another two, and to another one; to every man according to his several ability.” - Matthew 25:15 (KJV)

Ndidi Dike's exhibition Rare Earth Rare Justice unfolds as a large-scale installation structured around absence, death, and mourning and was developed over a year by the artist in close collaboration with Secession's tech and curatorial team. Thanks to a “Dialogue Residency” supported by the Federal Ministry for European and International Affairs, the artist was able to spend two months in Vienna, working in detail on the elements of the installation and the accompanying publication. The extended stay also allowed the artist to reflect on the work and experience how visitors would interact with it once the exhibition had opened. Further chapters will be presented at Färgfabriken, Stockholm and Zachęta – National Gallery of Art, Warsaw. Towards the end of the residency, Ndidi Dike and Jeanette Pacher recorded this podcast as part of an ongoing conversation between the artist and the curator. Ndidi Dike Rare Earth Rare Justice 6.3. – 31.5.2026 At the centre of Rare Earth Rare Justice lies the ongoing exploitation of the African continent's natural resources, and specifically the extraction of cobalt in the Democratic Republic of the Congo. Dike traces how extractive industries fuel ecological devastation, climate change, displacement, and resource-driven conflicts, exposing how global demand for technology is met through systemic violence and dispossession. More Ndidi Dike is an internationally renowned British-Nigerian sculptor and multi-disciplinary artist born in London. Rare Earth Rare Justice is her first major solo exhibition at an Austrian institution. Dike works across mixed media, painting, sculpture, collage, photography, video, and installation. Her practice engages with the social, political, and economic conditions shaping the modern world, with a particular focus on the legacies of colonialism, postcolonialism, forced migration, and global capitalism. Solo exhibitions include Working Through an Impasse, Art Twenty-One, Lagos, NG (2021), In the Guise of Resource Control, Villa Vassilieff, Paris (2017), State of the Nation, National Museum Onikan, Lagos, NG (2016) and Waka-into-Bondage: The Last ¾ Mile, Centre for Contemporary Art CCA, Lagos, NG (2008). Her work has been presented at biennials like Sharjah Biennial 16 (2025), Nigerian Pavilion, 60th Venice Biennale (2024), Sonsbeek 20–24, Arnhem, NL (2021), Lagos Biennial, NG (2019), Dak'Art Biennale, Dakar and 11th Bienal do Mercosul, Porto Alegre, BR (both 2018). Dike's work can currently also be seen at Tate Modern, London in the acclaimed group exhibition Nigerian Modernism: Art and Independence (on view until 10 May 2026). www.instagram.com/ndidi.dike/ Jeanette Pacher is a curator at the Vienna Secession since 2007. She is a regular lecturer in the Department of Site-Specific Art at the University of Applied Arts Vienna, member of the BIG ART advisory board, and from 2023 to 2025, she was jury member of KÖR – Art in Public Space Vienna. Secession Podcast: Artists features artists exhibiting at the Secession. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Audio Editor: Paul Macheck Executive Producer: Jeanette Pacher

TODAY on the GWA Podcast, is art historian, Alyce Mahon discussing the great Surrealist, Dorothea Tanning. Born in Illinois in 1910, where she said “nothing happened but the wallpaper”, Tanning immersed herself in gothic literature to escape to other worlds. Travelling to Paris to hunt down the Surrealists, Tanning “entered” or “birthed” herself into art in 1942 with her self-portrait “Birthday”, which sees her bare-breasted and standing in front of slightly ajar doors that seemingly lead to nowhere. Settling in NYC, where she exhibited with Peggy Guggenheim, it was then to the wide-open landscape of Sedona Arizona, where she painted Caspar David Friedrich-like paintings of herself standing before nature – ”asserting the centrality of woman” (as Mahon wrote in her new book). She then returned to postwar France and, switching up her style, moved into a cloud-like and splintered abstractions, before turning to bodily-like soft-sculptures. Although she famously said, "don't ask me to explain my paintings". Professor of Modern and Contemporary Art and a Fellow of Trinity College at the University of Cambridge, Mahon is one of the leading scholars on Surrealism in the world today. The author of numerous books including Surrealism and the Politics of Eros, 1938-1968 (2005), Eroticism & Art (2005), The Marquis de Sade and the Avant-Garde (2020), Mahon has also curated or advised on exhibitions on the likes of Leonor Fini, the great Argentine-born artist known for her meticulously rendered, proto-punk renaissance-like works, who she discussed with us on episode 48, as well as the Indian-born, once Cornish-based Ithell Colquhoun. Mahon was the curator of the monumental exhibition at Tate Modern in 2018, and now – has just published a brilliant, extensive book: Dorothea Tanning, a Surrealist world – our with Yale UP this month – that charts her life story across the places she lived in America and France and the place she imagined in her art, bringing alive her works, steeping them in history, and introducing us to Tanning's surreal world – and I can't wait to find out more. Alyce's book: https://yalebooks.co.uk/book/9780300244601/dorothea-tanning/ –– THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: www.famm.com/en/ www.instagram.com/famm_mougins // www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

We are all eagerly anticipating WOW!house 2026 which will run from 2nd June until the 2nd July so what better time to take a look at the phenomenon that is WOW!house. From a standing start in 2022, WOW!house has, in 5 short years, grown to become the UK's premier showcase for luxury interior design talent and style. Going way beyond the mere setting of trends, WOW!house has come to embody the aspirational direction of travel for the whole UK prime residential market. But how did it all begin? Where did the original inspiration for the event come from? And, how has it developed year on year to become the most hotly anticipated event in the London Interior Design Calendar? For this show, recorded in front of a live audience of designers in the Design Club at the Design Centre Chelsea Harbour, Susie and Jeff are joined by Durgesh Sinh from returning WOW!house sponsor, Nucleus AV, acclaimed interior designer and WOWzer, Benedict Foley, and the woman who launched WOW!house, CEO of the Design Centre, Claire German. We are a Wildwood Plus production.  Chapters (00:00:00) - Welcome to Wowhouse(00:01:36) - Interior Decorator at the Tate Modern(00:02:30) - The creative team at Nucleus(00:04:25) - The Wonders House(00:07:07) - The design centre at Zandon House(00:10:29) - Kips Bay and the Other Events(00:10:52) - The Warehouse's first show home(00:13:05) - The First Whale House(00:17:12) - Project Runway: Success(00:18:00) - The World's First Design Event(00:18:49) - Wond House: The Exhibition at 150(00:23:23) - The Warehouse Alumni's 2nd year(00:26:26) - Wilson: I'm a Wozza and a Wowza(00:27:59) - How do you pick the designers for Warehouse?(00:30:05) - The Warehouse's media room(00:31:47) - What's the Value of Being a Sponsor in Warehouse(00:32:28) - Inside the Science Exhibition 2017(00:34:23) - Benedict at United in Design(00:36:22) - A Round of Paul Watson

Val Ravaglia is a curator born in Rome who has been based at Tate Modern since 2012, where she is now Curator of Displays and International Art. She holds a PhD in Humanities and Cultural Studies from the London Consortium at Birkbeck and has curated or co-curated works by artists including Hito Steyerl, Rebecca Horn, Nam June Paik, Phyllida Barlow and Monster Chetwynd, as well as leading the rehang of the entire Tate Modern collection ahead of the opening of the New Tate Modern in 2016.Val most recently curated Electric Dreams: Art and Technology Before the Internet at Tate Modern, which gives us a lot to think about as AI becomes a greater part of our conversations. The Daily Telegraph called it "a nerd's nirvana" with a premise that was "simple, smart, and electrifying." The Upcoming described it as "an engrossing exhibition" that revealed how artists "forged new creative frontiers." Studio International called it "an impressive amalgamation of research" with "scope and ambition" that ranked it among the most significant shows of 2024.

Curator Franz W. Kaiser considers the avant-garde paintings of Karel Appel, in relation to the historic CoBrA Movement and contemporary ecologies, via Human Being and Animals (1949).Karel Appel: Variations on a Theme is at Galerie Max Hetzler in London until 16 April 2026.Karel Appel's Hip, Hip, Hoorah! (1949) is on view in the collection display In the Studio: The Disappearing Figure: Art after Catastrophe at Tate Modern in London.For more from curators Winnie Sze and Pim Arts, listen to the episode about Ernest Mancoba's African Madonna (1939) a⁠t the Cobra Museum of Modern Art in Amstelveen: pod.link/1533637675/episode/68ec0da40322500dc1f9be4865ac19d9You can also read my article about the exhibition, We Kiss the Earth: Danish Modern Art, 1934-1948⁠, and the CoBrA movement (Copenhagen, Brussels, and Amsterdam), in gowithYamo: gowithyamo.com/blog/a-triptych-of-danish-modernism-cobra-and-degenerate-art-in-denmarkFor more from the artist Sylvia Snowden, listen to the episode about M Street (1978-1997), recorded at White Cube Paris: pod.link/1533637675/episode/8e803c218bc4238d8ffceb5877f4a541This episode was supported by Galerie Max Hetzler.PRODUCER: Jelena Sofronijevic.Follow EMPIRE LINES on Instagram: ⁠⁠instagram.com/empirelinespodcast⁠⁠Support EMPIRE LINES on Patreon: ⁠⁠patreon.com/empirelines

John Byrne, author of "Useful Art- How Activist Artists Can Change the World," and professor of Useful Art at Liverpool John Moores University's School of Art and Design, talks about: The city of Liverpool and its art community, with about 20 total galleries, and how he fits into it; where he'll be book touring the book; a key framing in the book, being in a 'neo-liberal occupation' that we live under, which has a huge impact on the culture industries and means the financialization of essentially everything; the surprising pushback there's been at conferences and other events where Useful Art is discussed, including a lot of resistance from those in the art world who may feel that their positions of power are being threatened; the complex but far too under-considered distinction between "use value" and "aesthetic value," and why it's worth considering "use value" as a legitimate part of art-making (and which can even somehow manage to incorporate some aesthetic value); how one of the things he's interested in is having a radical re-think of what aesthetics are but also what they can be; some among many Useful Art projects, including by individual artist Tania Bruguera and Indonesian collective Ruangrupa, which curated Documenta 15, and how they came to be as a group…and, in turn, what the effect of having Ruangrupa curate that Documenta, which was an adventurous choice of curation, a role that John has heard described as "the curatorial Everest." In the 2nd half of our conversation, available to Patreon supporters of The Conversation, John Byrne talks about: how ruangrupa came to be, a very different trajectory as they didn't grow up in a culture with contemporary galleries or museums (though they did go to art schools abroad), but had a goal to make a living as artists through the collective, more specifically the "lumbung," equivalent to a co-operative;  how the controversy that arose from a single figure with a swastika in the much, much broader scope of ruangrupa's curation led to calls of anti-semitism which overshadowed that Documenta from an outsider's and the press's perspective, and how John believes this distraction was used by many as a way of avoiding discussing some of the core meanings and significance of ruangrupa's contributions to the vaunted art event; the importance of "switching the aperture of the Overton Window," a term he mentions several times, which is about re-orienting your settings in terms of shared understandings of what big concepts are, like Art with a capital A, and how venturing into Useful Art doesn't in any way mean excluding being an individual artist who works solo- they can exist simultaneously; it's also that if we don't open up and expand the definition of what an artist can be and art can be and who can make it, we run the risk of surrendering Art to the neoliberal occupation; his interest, back in the day when he was a young person, in DIY culture (Rough Trade Records,  et al.) and how that's a good analog for Useful Art projects; the artist Ahmet Ögüt, a former student of John's who started The Silent University, a knowledge exchange which evolved into a significant cultural platform; Tania Bruguera's project for the Tate Modern which entailed accessing/experiencing police horses and their corralling, and how inside the institution it follows certain basic and old-school protocols, whereas she also has done several projects outside the institution/into the street/community; the concept of 1:1 Scale Art, which the critic Steven Wright appropriates from a Lewis Carol story, in which a map is produced that is so elaborate that it covers everything that exists in the 'real world' of that map, and Wright takes that perspective and applies it as the idea that artists jettison making representations of the real world, and instead affecting change in the real worlds itself (one of the cruxes of the book), which the art world hasn't been able to understand because of the condition of neoliberal capture; a former student who's working on a project in which public libraries become spaces of the Commons, open to all kinds community members including especially those on the margins (whether pensioners, immigrants, etc.); and how posting some of the entries from the Association of Arte Util in open community meetings/events has been a great starting point – another bringing someone in to introduce a skill – to get people engaged in a Useful Art project and think and live artfully.

Season 27 @TalkArt continues with TRACEY EMIN. Hosted by @RobertDiament. An exclusive new interview recorded in Margate within Crossing Into Darkness, a group exhibition curated by Dame Tracey Emin including works by 21 international artists.Crossing Into Darkness brings together a group of artists whose works confront the darkness inherent in human experience, not as something to be feared but as a necessary threshold toward renewal. In times marked by upheaval and uncertainty, this journey feels both universal and deeply personal.Featuring works by David Altmejd, Georg Baselitz, Louise Bourgeois, Marlene Dumas, Tracey Emin, Laura Footes, Antony Gormley, Francisco Goya, Gilbert & George, Celia Hempton, Anselm Kiefer, Joline Kwakkenbos, Mark Manders, Danielle Mckinney, Lindsey Mendick, Juanita McNeely, Edvard Munch, Hermann Nitsch, Janice Nowinski, Anna Pakosz and Johnnie Shand Kydd.The title of the show is very self explanatory, especially for the times we are living in. But even so we have always had our own journeys. And I feel that we have to cross into darkness to find light. I'd like this show to be very emotionally immersive and people to feel the strength and vibrations within the works. I want people to know that art isn't just something that you look at. That it has a deeper purpose and can penetrate all souls. I love the idea of people coming to Margate on the greyest of winter days with gale force winds and crashing waves to make the pilgrimage to see the show.– Dame Tracey EminFollow @TraceyEminStudioSpecial thanks to @CarlFreedmanGalleryThis powerful group show runs until Sunday 12th April at Carl Freedman Gallery, Margate. Free entry, no booking required.Tracey Emin's major solo exhibition A Second Life runs until Sunday 31st August 2026 at Tate Modern, London. Tickets available from Tate. Hosted on Acast. See acast.com/privacy for more information.

Dame Tracey Emin burst onto the art scene in the 1990s and controversy has followed her ever since. Like in 1999, when her Turner Prize-nominated My Bed caused a media frenzy. Emin's raw, autobiographical and confessional work is very personal yet also platforms the wider female experience through its themes of abuse, sexuality, poverty, and reproductive rights.  Jen chats to Jess Baxter, assistant curator of major new exhibition Tracey Emin: A Second Life at the Tate Modern, about the artist, her work, and the expression of the female experience. Want to support us and enjoy additional content? Of course you do. And you can: patreon.com/standardissue. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hear about visiting the hidden gems of London, England, as the Amateur Traveler talks to Jonty Crane from Jonty Travels about this city he once called home. This week's show is supported by the new Smart Travel Podcast. Travel smarter — and spend less — with help from NerdWallet. Check out Smart Travel ⁠here⁠. Why visit London? London is one of the world's great cities, and it can easily fill a week, if not two, exploring the city. Everyone has heard of Buckingham Palace, Big Ben, Tower of London, Tate Modern, Changing of the Guard, British Museum, and the London Eye, but there are so many more sights that are arguably as interesting and less busy. Jonty lived in the UK for the first 29 years of his life, worked in London for 5 years, and visited London almost every year for 15 years after moving to New Zealand. ... https://amateurtraveler.com/hidden-gems-of-london/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Orit Gat takes in the new Tate Modern show from former YBA, now officially OBA, Tracey Emin; Rachel Andrews is at Cork's Make2026, with Prof Helen A. Fielding to learn which AI to love; and Patrick O'Laoghaire's Island postcard comes from a road near Clifden.

If you enjoyed Orit Gat's essay on Tracey Emin's sort-of-retrospective at Tate Modern (which you can hear in the current edition of Culture File), here is some further conversation between Orit Gat and Luke Clancy, around Emin, Autofiction, Bad Museums, Rose Wiley and Nobel Prize Winners.

While London clubs increasingly face the risk of closure, ticketed events in multi-use spaces are becoming more popular. Even art galleries have started hosting after hours events. So, how different will clubbing look over the next few years?In this episode, host Tamara Kormornick speaks to Rosalie Doubal, a senior curator of international art at Tate Modern, about the intersection of art, culture and clubbing, and whether she sees galleries becoming a vital part of late night infrastructure. Tamara also catches up with The Standard's features writer and nightlife expert, Maddy Mussen, for a vibe check on London's after-hours scene.Photograph: Tate (Ben Fisher) Hosted on Acast. See acast.com/privacy for more information.

“When you've been really nihilistic in your life when you're younger, and then you feel you've been given a second chance.”Emma Barnett speaks to artist Dame Tracey Emin about her life and career. Emin rose to fame in 1990s as a disruptor of the art world, with her works, such as the sculpture ‘My Bed', gaining widespread media attention. Having been at the forefront of the modern art scene for over three decades, a solo exhibition has now opened at the Tate Modern in London showcasing 40 years of her work.She's well-known for channelling her life experiences into her artwork. Following a troubled childhood, in which she was a victim of sexual abuse, Emin battled alcohol addiction throughout her adult life. However, she gave up alcohol after being diagnosed with an aggressive form of bladder cancer in 2020 - which is now in remission.Emin views the experience as a ‘second life', and believes the lifestyle change has been for the better.Thank you to the Ready to Talk with Emma Barnett team for their help in making this programme. The Interview brings you conversations with people shaping our world, from all over the world. The best interviews from the BBC, including episodes with UN Secretary General Antonio Guterres, free speech campaigner Maria Ressa, and Olympic cyclist Sir Bradley Wiggins. You can listen on the BBC World Service on Mondays, Wednesdays and Fridays at 0800 GMT. Or you can listen to The Interview as a podcast, out three times a week on BBC Sounds or wherever you get your podcasts. Presenter: Emma Barnett Producers: Ben Cooper, Mark Ward and Clare Williamson Editor: Justine Lang and Damon RoseGet in touch with us on email TheInterview@bbc.co.uk and use the hashtag #TheInterviewBBC on social media.(Image: Tracey Emin posing beside her artwork during a preview of her upcoming show, Tracey Emin: A Second Life at The Tate Modern in London. Credit: ADRIAN DENNIS / AFP via Getty Images)

The Government's migration and asylum plans have had that unique Keir Starmer way of annoying everyone. Including many of their own MPs, such as Walthamstow's Stella Creasy. She says her party is now asking people to live in “limbo” and that the new policy change is not “socially just”. She joins the panel to explain why. And in the second half, monsters are everywhere (including politics). But what is a monster? Why do humans keep inventing them — and what does that say about us? Dr Surekha Davies' new book Humans: A Monstrous History, explores all of that, and she joins the panel to give her take.  ESCAPE ROUTES:  • Jonn has been reading the work of Iain M. Banks: https://iainbanks.co.uk/  • Zoë went to the Tate Modern to see the Nigerian Modernism exhibition  • Surekha recommends a visit to the Samurai exhibition at the British Museum  • Stella was DJing at the weekend to raise money for two charities WHICH YOU CAN STILL DONATE TO! They are Eat or Heat and Furnishing Futures Buy Humans: A Monstrous History through our affiliate bookshop and you'll help fund Oh God, What Now? by earning us a small commission for every sale. Bookshop.org's fees help support independent bookshops too.  www.patreon.com/ohgodwhatnow  Presented by Zoë Grunewald with Jonn Elledge. Audio Production by: Chris Jones. Art direction: James Parrett. Theme tune by Cornershop. Managing Editor: Jacob Jarvis. Group Editor: Andrew Harrison. OH GOD, WHAT NOW? is a Podmasters production.  www.podmasters.co.uk  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Biesinger, Gabi www.deutschlandfunk.de, Kultur heute

A 40-year career retrospective of Dame Tracey Emin's work has opened at the Tate Modern in London, featuring many of the artist's most iconic pieces, from her controversial, Turner Prize shortlisted My Bed (1998) to her neon artworks, textiles, bronze sculptures, photos, and paintings. Called A Second Life, it explores the connections and tensions between her early career and the work she's created since 2020, when she was diagnosed with cancer and underwent a huge operation. Tracey joins Anita Rani to discuss her body of work.Student midwives have contacted us to say many of them are struggling to find jobs despite a serious shortage of midwives in the NHS. A new survey from the Royal College of Midwives finds 31% of newly qualified midwives are still not employed in the role, and the majority of those who have found employment are on fixed-term contracts. Nuala McGovern hears from Safia, who is in her final year of midwifery training, and Gill Walton, Chief Executive of the Royal College of Midwives.Molly vs the Machines is a new feature-length documentary that tells the story of Ian Russell and his fight for online safety after his daughter Molly took her own life in 2017 following months of viewing content relating to self-harm and suicide on social media. Molly's friends Charlotte Campbell and Sophie Conlan tell Anita why it was important for them to take part in the film.In collaboration with our Send in the Spotlight podcast, Nuala speaks to Schools Standards Minister Georgia Gould about the government's proposed SEND reforms.Writer and actor Kyla Harris joins Clare McDonnell to discuss reframing disability with her acclaimed BBC comedy We Might Regret This, which she co-created.Presenter: Anita Rani Producer: Dianne McGregor

Following the tragic death of Koyo Kouoh last May, the details of her final project—In Minor Keys, the international exhibition of the 2026 Venice Biennale—were unveiled this week by the collaborative team that will carry through her vision for the show. Ben Luke speaks to The Art Newspaper's editor-at-large Jane Morris, about the show's themes and strands and the artist list. The Barbican Art Gallery in London has opened a new exhibition of the work of the Colombian artist Beatriz González, who died in January, aged 93. Ben takes a tour of the show with its curator, Lotte Johnson. And this episode's Work of the Week features in another major new London show: Tracey Emin: A Second Life, at Tate Modern. Our digital editor, Alexander Morrison, speaks to the outgoing director of Tate, Maria Balshaw, who has curated the Emin exhibition, about The Last of the Gold (2002), an embroidered blanket that has never been shown publicly until now.The Venice Biennale, 9 May-22 November.Beatriz González, Barbican Art Gallery, until 10 May. You can hear our interview with Doris Salcedo in which we discuss González's influence on A brush with… Doris Salcedo, wherever you get your podcasts.Tracey Emin: A Second Life, Tate Modern, London, 27 February-31 August. Hosted on Acast. See acast.com/privacy for more information.

Inspired by the fate of Andrew Mountbatten-Windsor, Waldy and Bendy look at artworks of people in power who fell from grace. Also the Tracey Emin exhibition at Tate Modern.   See the show notes: https://zczfilms.com/podcasts/waldy-bendy/season-5-episode-24-fallen-royals/  Watch on YouTube: https://youtu.be/M3pNlr0Z11A 

Art critic Louisa Buck and writer Chris Power giving their verdicts on Tracey Emin: a second life at Tate Modern. This landmark exhibition spans 40 years and includes famous works such as My Bed to recent paintings and bronzes which are on display for the first time.They will also be reviewing the Oscar nominated film Sirât - which tells the story of a father travelling the Moroccan desert with ravers in the hope of finding his missing daughter.And they discuss Bird Grove, a play which tells the story of Mary Ann Evans before she became George Eliot.Plus Tom interviews Linda Tolhurst, the National Theatre's Stage Door Keeper who is receiving the Industry Recognition Award at the Olivier Awards this year.Presenter: Tom Sutcliffe Producer: Claire Bartleet

Dame Tracey Emin is BACK on The GWA Podcast! Hailed for her paintings, videos, textiles, neons, writing, sculptures, installations, and now, her extraordinary work as an educator, raising the next generation of artists at TKE Studios in Margate, right by where we are recording today – Emin has been at the forefront of art for more than four decades. Born in Croydon, and raised in Margate with her twin brother Paul, Emin had a complex child- and teenagehood, which she details in her part-memoir, Strangeland – as well as in works such as Why I Never Became a Dancer or Mad Tracey From Margate. Officially leaving school aged 15, Emin went to Maidstone College of Art, and onto the Royal College – where she won over her interviewees with her impressive sketch book selection. In 1993, she kept a shop in Brick Lane, titled “The Shop”, which ended with a party on her 30th birthday, and that year had her first exhibition – at a then-new gallery called White Cube. On view were objects she had collected over the years – from teenage diaries to toys, paintings, drawings and unsent letters. She titled it My Major Retrospective, just in case she never had another show. However, this was just the start. Emin has since exhibited all over the world – most recently the Yale Center for British Art, where I saw her work a floor above JMW Turner, getting me to realise the painterly relationship between the two artists – despite working 250 years apart – from how Emin plays with moods akin to his stormy weathers, to how the bodies in her paintings evoke his mountainous landscapes, with vein-like rivers. As well as Palazzo Strozzi, highlighting Emin's relationship to the history and iconography in Italian art – such as life, death and the crucifixion, to the decay of the body and enlightenment through spiritual (and sexual) quests. It challenged the city's history, revealing the rawness of a woman's perspective in a culture that so rarely addressed it. Now, we meet in Margate on the occasion of the largest – and perhaps the most important – exhibition in her life so far, “A Second Life” opening at Tate Modern on 27 February, in the very city where her artistic life thrived. But it's also a show taking place after monumental personal shifts, such as her mother's passing in 2016, surviving cancer in 2020, the opening of her free studio-based art school in 2023, but also when the world couldn't be more excited for Emin. She has said of this show to be a “true celebration of living” and I can't wait to find out more…

Good morning. There was a time in the early 2000's when you could not open a paper without seeing a photo of Tracey Emin at a party, glass in hand, staring at the camera. A moving interview with her in The Guardian in connection with her major new show at Tate Modern which starts next week reveals a very different Tracey Emin. She talks about the terrible cancer she has suffered, with many of her body parts being removed, so that life now is lived with great difficulty. At the time she thought she was going to die and then ‘Whoever they are', she said to Charlotte Higgins the interviewer, glancing heavenwards, ‘they said “I don't think she is all bad. Let's give her another go, see what she can do”' So she gave up alcohol and her 50 cigarettes a day and has since then thrown herself into her art - not only her own art but helping young artists and others in her home town of Margate. As she said ‘I have spent a lot of my life being sad, nihilistic and punishing myself mentally-and drinking and smoking. And then I realised: I could have my time back again.' No wonder her new exhibition is called ‘Tracey Emin: A Second Life.' Lent, which began yesterday is a reminder that we do not have to wait until death stares us in the face to have a second life. Notwithstanding regrets and failures every day is a new gift, a new beginning, a time to focus on what really matters to us. Tracey Emin says about those earlier years in the 2000's ‘God, was that the shallowest level of myself that I could ever be?' There is a shallow side and a deeper side to all of us. That deeper side brings into focus what we really want to do with our life, what kind of person we really want to be. If you visit Liverpool's Anglican Cathedral, the largest religious building in the country, built between 1904 and 1978, it is difficult not to be overwhelmed by its immense space and monumentality. But as you enter, just above the West End Doors, there is a total contrast-a permanent pink neon installation with the words ‘I felt you and I knew you loved me' written in Tracey Emin's own hand. Tracey Emin burst on the scene in 1988 with a work of art consisting of her unmade bed surrounded by condoms, blood and general detritus and people still associate her with this. But I like to think of her devoting herself to making new art and helping others in Margate, and that simple, pink neon installation in Liverpool Cathedral with its words ‘I felt you and I knew you loved me.'

Shortly before the opening on 28 November 2026, Cevdet Erek talks with curator Bettina Spörr about his exhibition and sound installation on Secession's façade. Cevdet Erek Secessions-Ornamentik  29.11.2025 – 22.2.2026 Some of Cevdet Erek's site-specific installations and sonic environments, placed at the intersection of sound, sculpture, and architecture, evolve around the idea of ‘sound ornamentation'. With this term, the artist refers to Adolf Loos's Ornament and Crime (1908) amongst others. This text celebrates lack of ornamentation as the mark of a ‘cultivated' society. Loos' polemic is key to a moralising discourse that once sought to purge architecture of decoration in the name of progress. In that context, ornament – associated with sensuality, femininity, and excess – was condemned as wasteful and irrational. Loos' text linked ornament to primitivism and degeneration, framing modern Western culture as superior to the supposedly ‘undeveloped'. Such rhetoric not only marginalised the close relationship between ornament and abstraction but also exposed the colonial and patriarchal logics underpinning modernist aesthetics. Erek re-enters this ideological terrain, transforming ornamentation from decorative surface into temporal, vibratory structure – one that organises space and perception. In his installations sound is not background but architecture itself – something built, inhabited, and experienced by bodies in motion. Here, ornamentation becomes a verb: it describes the act of tuning, of aligning oneself with surrounding frequencies. Through attention, the visitor becomes part of the composition. In this way, Erek's installations dissolve the boundaries between composer and listener, architecture and inhabitant. More Cevdet Erek was born in Istanbul in 1974, where he lives and works. He has developed site-specific installations and presented his work extensively in solo and group exhibitions, among others at Museumsquartier, Vienna; Hamburger Bahnhof – Museum für Gegenwart, Berlin; Art Institute of Chicago; M HKA – Museum of Contemporary Art, Antwerp; MUAC Museo Universitario de Arte Contemporáneo, Mexico City; Pavilion of Turkey, 57th Venice Biennale; Spike Island, Bristol; Kunsthalle Basel, Basel; Liverpool Biennial, Liverpool; 36th Bienal de São Paulo (both 2025); Manifesta 14, Pristina (2022); Gropius Bau, Berlin; SFMOMA, San Francisco; Schirn Kunsthalle, Frankfurt am Main; 5th Marrakech Biennale (2014); Palais de Tokyo, Paris; Sharjah Biennial 11 (2013); 9th Gwangju Biennale (2012); CCA Wattis Institute for Contemporary Arts, San Francisco; dOCUMENTA 13, Kassel (2012); 12th Istanbul Biennial (2011); Tate Modern, London. Since 2008, Bettina Spörr is a curator at the Secession, where she engages in close collaboration with artists to conceptualise and realise exhibitions that explore the profound impact of contemporary art on society. Throughout her career, she has worked with numerous artists on solo exhibitions and, in 2010, curated the group show where do we go from here? at the Secession. Secession Podcast: Artists features artists exhibiting at the Secession. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Audio Editor: Paul Macheck Executive Producer: Bettina Spörr

Lords: Tyriq Watson Topics: My sleep experience over the holiday Esper says: "Cannabis can definitely help one get into a sleep state, but actually degrades the quality of sleep quite a bit. From personal experience my guess is this has to do with how it affects dreams, often precluding them from happening to begin with." Conlanging taught me how to judge good art Tate mode The Tyger, by William Blake https://www.poetryfoundation.org/poems/43687/the-tyger Microtopics: Scrubbin' Trubble The Lathe of Heaven by Ursula K. Leguin. Changing history by dreaming about it and having a hypnotherapist that's trying to change your dreams. Telling artists that you like them vs. telling them that you like your work. Learning how to take compliments. Three people who could have opinions. Spoilers for early January. Trying to sleep on an airplane and training yourself to be unable to sleep at all. A highly suboptimal experience. Untraining the fear of falling asleep on planes from your body. How to wear a neck pillow, maybe. Sleeping sitting up and your head nodding forward as you fall asleep. Neck pillow instructions dot PDF. How to transport a neck pillow. Hyperfixation on sleep and the consequences of not getting it. Mythbusters Mode. If you can't sleep, how helpful is it to pretend to be asleep? Being woken up by the sensation of all your senses shutting down as you fall asleep. Skipping your consciousness off of the surface of sleep. Getting super stoked when you're about to fall asleep and waking yourself up because you're so excited. Problems solved with more coffee vs. problems solved with more coffee tables. Lingthusiasm. Cursing yourself to hate a beloved movie series by watching it on a plane. Psychosomatic self-curses. Linguistics and conlangs. The guy everyone hires to con a lang for a movie. Judging things based on whether you like it vs. judging things based on whether it achieved the creator's goals. Learning a new framing and applying it to everything. Being aware of your frame and communicating your frame to the listener. Lojban. Lojban as a wholly unnatural way to speak in the same way that ballet is a wholly unnatural way to move. Decent and not unaesthetic. Trying to draw a picture without knowing how to hold a pencil. Birds with extra vocal tracts. Birdlangs. What if parrots evolved to be sentient, except in a fantasy world, because reasons. Ascertaining the borders of your caring. Brandon Sanderson doing Brandon Sanderson things. The IPA of sounds a human can perform live on a modular synthesizer. To create Hatsune Miku, you must first invent the universe. Horizontal vs. vertical scanlines. Designing a CRT that can scan either horizontally or vertically. Delta gun tubes with a triad of phosphor dots. Having a vertical monitor to display tall things. Page-shaped-pages. Games that ship as a rectangle on a web site. Black frame insertion. Do modern LCD displays have ghosting? A very intimidating challenge. A very fun nexus of art and programming. Tate Mode vs. Tate Modern. Tate your owl for science. Whether this poem predates the Great Vowel Shift. Mixing ands and ampersands. Capital Ampersand. Seeing an animal and realizing that this is it, this is the one that's meant to eat me. A glowing golden perfect human that everyone instantly hates and wants to eat. Whether you can invent a tiger in Dwarf Fortress.

Marking one hundred years of radio broadcasting in Slovakia, this series also highlights the international-level content produced by RSI. In this instalment, Martina Greňová Šimkovičová revisits her coverage of the landmark exhibition of sculptor Mária Bartuszová at London's Tate Modern — one of the world's leading museums of modern and contemporary art. Presented in 2022, the exhibition reflected Tate's long-term commitment to expanding the representation of women artists in its collections and programming. As Tate director Maria Balshaw prepares to step down in spring 2026, Martina returns to her in-depth conversation with Tate Modern curator Juliet Bingham and renowned gallerist Alison Jacques, exploring works that had rarely been presented to UK audiences before.

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

Vi dykker i én af internettets mest opsigtsvækkende datingbedrag historier i 2025: The Danish Deception, er titlen på den den virale TikTok-historie om en romance, der udviklede sig til svindel, løgne og virkelighedsforvrængelse. Hovedpersonen, Onyeka Ehie, tidligere kendt fra reality-tv programmet Bachelor i USA, gik i november på TikTok med en serie med over 25 videoer, hvor hun detaljeret fortæller om sit forhold til en dreamy dansk mand. Ifølge Ehie begyndte det som en romantisk drøm: rejser, luksus, og store ord men endte i bedrag, gæld og romantiske røgslør. Vi guider jer igennem junglen af løgne! PANEL Alexandra Bækgaard Carstensen, kok og madskribent: Anbefaling: Se reality-serien ‘Secret Lives of Mormon Wives‘. Naima Yasin, sekretariatsleder i Saga og vært på podcasten ‘A Seat At The Table’. Anbefaling: Tag til London og se den afrikanske kunst på Tate Modern. Filiz Yasar, freelancejournalist. Anbefaling: Læs romanen ‘Jeg som aldrig har kendt mænd‘ af Jacqueline Harpman. Vært: Lucia Odoom. Anbefaling: Se filmen ‘Tár‘ inden den ryger af Netflix d. 16. december. REDAKTION Lucia Odoom og Inge Høeg.See omnystudio.com/listener for privacy information.

Today I'm speaking with artist Lakwena Maciver, whose glorious work has wrapped electrical substations, transformed the Bowery Wall, brought hope into a juvenile detention centre in Arkansas, transformed Tate Modern and handbags for Dior, all carrying poignant messages of care. All of this stemmed from a child drawing her own name to anchor a shifting sense of identity. Those early gestures became a life's work centred on hope, connection and the courage to speak into public space without dilution.  We talk about the culture shock that shaped her, the spiritual turning point that unlocked her practice, and the Miami wall that changed her trajectory. We also explore how she navigates large-scale public commissions, studio freedom, working with commercial galleries, licensing and her thinking behind her own online shop and merch. If you've ever felt torn between ambition and intuition, visibility and vulnerability, or the expectation to deliver versus the instinct to stay true to your vision, this one's for you. KEY TAKEAWAYS Embrace your unique journey. Use what you have, stay true to your path and don´t worry about what others are doing or have. Art in public spaces can have a transformative impact - fostering hope, connection, and a sense of belonging, often deeply impacting unseen or marginalized communities. Balancing ambition versus intuition, visibility versus vulnerability, and expectation versus authenticity is ongoing for any creative person. Moving beyond “solo” creation into collaborative and community-focused work renews your creative energy and deepens your impact. BEST MOMENTS “I think I started making work from a place of displacement. So, I started drawing and making artwork as a way of trying to empower myself and speak hope to myself.” “What we protect ourselves from is often exactly where the breakthrough waits - letting something in is sometimes the bravest part of creative life.” “Try and stay in your lane. Use what you have in your hand. Don't worry about what you haven't got and what other people have.” EPISODE RESOURCES https://www.lakwena.com https://www.instagram.com/lakwena You can sign up for Lakwena´s newsletter at the bottom of this page - https://shop.lakwena.com PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Amani Willett is a Boston-based photographer whose practice is driven by conceptual ideas surrounding family, history, memory, and the social environment. Working primarily with the book form, his three monographs have been published to widespread critical acclaim. Disquiet (Damiani, 2013), The Disappearance of Joseph Plummer (Overlapse, 2017) and “A Parallel Road (Overlapse 2020)” were selected by Photo-Eye as “best books” of the year and have been highlighted in over 70 publications including ​Photograph Magazine, PDN,​ ​Hyperallergic, Lensculture, New York Magazine, The New York Times, 1000 Words, NPR, The British Journal of Photography, Collector Daily and Buzzfeed and recommended by ​Todd Hido,​ ​Elisabeth Biondi (former Visuals Editor of The New Yorker), Vince Aletti and Joerg Colberg (Conscientious), among others. https://www.amaniwillett.com/invisiblesunbook https://www.instagram.com/amaniwillett/ INVISIBLE SUN is a visual meditation on survival, transformation, and fragility by artist Amani Willett. The project traces the impact of childhood medical traumas and the ways they continue to reverberate through the present. Slideshow from book: https://youtu.be/dl5-nDcpfoc Confronting these early challenges amid new chronic health challenges, Willett turned to intensive therapies. Within this process he encountered vivid, unsettling memories, often of his younger self, that became a generative source for the work. This podcast is sponsored by the Charcoal Book ClubBegin Building your dream photobook library today athttps://charcoalbookclub.com Amani's photographs are also featured in the books​ American Geography (SF Moma/Radius Books, 2021), Bystander: A History of Street Photography (2017 edition, Laurence King Publishing), ​Street Photography Now​ (Thames and Hudson), ​New York: In Color​ (Abrams), and have been published widely in places including The Atlantic, A​merican Photography,​ Newsweek​,​ Harper's,​ ​The Huffington Post, The New York Times, The New York Times Magazine and The New York Review of Books​.​ His work resides in the collections of the Tate Modern, The Library of the Museum of Modern Art, The Museum of Fine Arts, Boston, The Sir Elton John Photography Collection, The Museum of Fine Arts, Houston, Oxford University, and Harvard University, among others.

In November, we celebrated the launch of our latest print edition, Seasons, at the Tate Modern in London. Recorded live at the event, this conversation featuring four Volume 6 contributors, delves into each of their stories and the themes of requiem, invitation, and celebration at the heart of their seasonal experiences. From honoring the fragility of spring birdsong, to finding an expanded sense of self through seasonal “noticelings,” this wide-ranging and lively exchange explores the myriad ways of remembering our relationship with the seasons.  Read the transcript.  Discover our latest print edition, Volume 6: Seasons. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode No. 732 features artist Igshaan Adams and curator and Jenkintown, Penn. school board-electee Laura Igoe. The Hill Art Foundation, New York is presenting "Igshaan Adams: I've been here all along, I've been waiting" through December 20, 2025. The exhibition features work from the last 15 years of Adams' practice, and emphasizes how his work engages and serves his community. Adams tapestries and sculptures build from weaving traditions to make the routine, even mundane the subject of rich, detailed artworks. On the occasion of the exhibition, the Hill Art Foundation has published this essay by Siddhartha Mitter. Adams grew up in a Muslim-Christian household in the segregated suburb of Bonteheuwel in apartheid-era South Africa, and employs Bonteheuwel residents and family members in his studio. His work has been the subject of solo shows at the Institute of Contemporary Art, Boston; the Art Institute of Chicago; Kunsthalle Zurich, the Aarhus Art Museum, Denmark; and the Hayward Gallery, London. His work is in the permanent collection of museums such as the Moderna Museet, Stockholm, the Tate Modern, London, and Inhotim, Brumadinho, Brazil. Igoe, the chief curator of the Michener Art Museum, Doylestown, Penn. was just elected to the Jenkintown, Penn. school board. Instagram: Igshaan Adams, Laura Igoe, Tyler Green.

Marilyn Minter (b. 1948, USA) is an artist based in New York. Recent solo exhibitions include Marilyn Minter, Lehmann Maupin, Seoul, South Korea (2024). Marilyn Minter, LGDR, New York, NY (2023); Marilyn Minter, Lehmann Maupin, Hong Kong, China (2021); All Wet, Montpellier Contemporary (Mo.Co), Montpellier, France (2021); Smash, MoCA Westport, Westport, CT (2021); Fierce Women, The Cube, Moss Arts Center, Virginia Polytechnic Institute and State University, Blacksburg, VA (2020); Nasty Woman, SCAD Museum of Art, Savannah GA (2020); among others. From 2015 through 2017, her retrospective, Marilyn Minter: Pretty/Dirty, traveled to the Contemporary Arts Museum, Houston (TX); the Museum of Contemporary Art, Denver (CO); the Orange County Museum of Art, Newport Beach (CA); and the Brooklyn Museum, Brooklyn (NY). Her video Green Pink Caviar was on view at The Museum of Modern Art, New York from 2010-2011.Minter is the recipient of numerous prestigious awards, including the Louis Comfort Tiffany Grant (2006) and the Guggenheim Fellowship (1998). Minter's work is in the collections of many museums globally, including the the Museum of Contemporary Art, Los Angeles (CA); San Francisco Museum of Modern Art, San Francisco (CA); (MA); the Museum of Modern Art, New York (NY); the Perez Art Museum, Miami (FL); the Tate Modern, London (U.K); the Solomon R. Guggenheim Museum, New York (NY); and the Whitney Museum of American Art, New York (NY), among many others.She and Zuckerman discussed shaming young and beautiful women, trust, how we take care of ourselves, making things her own, progress, the ability to copy anything, getting rid of narrative, finding out who we are, identifying people's gifts, seeing joy and the love of making, making bad things, the reality of self-doubt, looking for things that bother you, piggy backing, and how hard it is to be alive!

Episode 497 / Gretchen AndrewGretchen Andrew is an artist born in Los Angeles, United States, 1988 who lives and Works in London and Park City, Utah. She studied Information Systems and got a BS from Boston College, and worked for Intuit as a Software Engineer, Google as a People Technology Manager, and apprenticed with Billy Childish at his studio.She's had shows at Gray Area, San Francisco, Heft Gallery, NYC, Hope 93, London. FxHash, Berlin Art Week, Galloire, Dubai UAE,  Falko Alexander, Cologne, Germany, Annka Kultys Gallery, London, United Kingdom and many others.She's shown at fairs including 2025 Expo Chicago, 2024 Untitled Miami, Paris Photo (21C Award, solo presentation) and the 2022 Vienna Contemporary (solo presentation).She has lectured at the Tate Modern, the Luma Foundation in Zurich, the Mia Foundation in Dubai and the University of Chicago.

I am so excited to say that my guest on the GWA podcast is one of the most influential artists working in the world right now, TANIA BRUGUERA! Hailed for her installation and participatory performance works that blur the boundaries between art and reality, Bruguera has dedicated her life to making work that explores freedom of expression, immigration, totalitarianism, and human rights. She has brought attention to the strict control of Cuban authorities by confronting visitors at Tate Modern with performer police officers on horseback, to setting up an open debate on an official-looking stage at the Havana Biennale to give people license to say what they want for one minute… Her work – often set in the framework of the theatre – has continued to push art to its limits and grant space for important and difficult conversations to take place. As she has said: “In a way, when you talk about politics, there is a lot of theatre involved. And what I'm trying to do with my art is how can we break the classic theatre where everything has already been decided, into a place where people can add something to the discourse”. Born in Cuba in 1968, Bruguera was raised during the era of Fidel Castro by a diplomat and minister father in the Castro government. She moved three times – to Paris, Lebanon, and Panama – before returning to Havana, where she graduated from the Escuela de Arte San Alejandro, and would go onto complete MFAs in painting and performance in Havana and Chicago. Since then, Bruguera has researched both the promise and failings of the Cuban Revolution, in performance pieces that allow her audience to unite and gather together and see and experience what lies behind governmental propaganda. Not only do these works speak universally, transcending time and place, but they are a great comment on the promises and failings of institutions and governments today. The founder of the first performance studies programme in Latin America, known as the Behaviour Art School, Bruguera is also Senior Lecturer in Media & Performance, Theater, Dance & Media at Harvard University, where we are recording with her today, and, as an artist I have admired for a very young age, I really can't wait to find out more. --- My new book, How To Live An Artful Life: https://www.waterstones.com/book/how-to-live-an-artful-life/katy-hessel/9781529155204 --- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield