Podcast appearances and mentions of tate st ives

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

İzmir'den sanatçı Cansu Çakar ile Birleşik Krallık'ın Cornwall bölgesindeki araştırmalarını ve TATE St Ives Müzesi'nde 5 Ocak'a dek süren kişisel sergisini konuşuyoruz.  

After descending on London last week, the art world arrived in Paris this week, with the main attraction being the Art Basel Paris art fair—now staged in the renovated Belle Epoque masterpiece, the Grand Palais. An editor-at-large at The Art Newspaper, Jane Morris, was at the VIP opening and tells us more. As always, alongside the fair are a number of eye-catching museum shows and projects. Among them is Chapelle, a new in-situ work for the Musée Picasso by the Argentinian artist Guillermo Kuitca. Ben Luke talks to Kuitca about the piece. And this episode's Work of the Week is June (2022) by Małgorzata Mirga-Tas, a work from a series in which the Polish-born Romani artist reimagines astrologically themed frescoes at the Palazzo Schifanoia in Ferrara in order to explore the history and contemporary life of the Roma people. Our associate digital editor, Alexander Morrison, talks to Mirga-Tas about the work, as it goes on display at Tate St Ives in the UK.Art Basel Paris, Grand Palais, until Sunday, 20 October.Chapelle by Guillermo Kuitca, Musée Picasso, Paris, until 31 December 2027.Małgorzata Mirga-Tas, Tate St Ives, UK, 19 October-5 January 2025Subscription offer: you can get three months for just £1/$1/€1. Choose between our print and digital or digital-only subscriptions. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

Contemporary artist Beatriz Milhazes collages arabesques from Baroque Portugal and Brazil's many indigenous communities, tracing religious and natural patterns in Roman Catholicism, Islamic architectures, and the islands of Japan, through Casa de Maria (1992). Known for her colourful, large-scale abstract paintings, Beatriz Milhazes' practice reflects how Brazilian culture has long ‘assimilated' plural influences, particularly the effects of Portuguese and Spanish colonial rule between the 17th and 19th centuries. Arches, doors, stained glass windows, and burnished golds, drawn from churches across South America, recur as motifs in works spanning forty years. Beatriz layers ruffles and rosettes, precursors to the circles in her more recent paintings, from royal Hispanic costumes, and textiles found in city markets and Carnival parades. Her studio overlooks Rio de Janeiro's botanical garden, another construct of colonial rule, and environment which inspires her creations. For the artist, flowers are both ‘natural' and ‘plastic' bodies - like the water, and ‘salty sea breeze' which connects her home in Brazil and the coastal cities of Britain, where her work is currently on display. Beatriz outlines the centrality of nature in popular and indigenous cultural production, and interest in ornamental ‘body drawings' by women in the Kadiwéu tribe. She shares how she adapts the concept of collage to painting on canvas, calling on Western/European modernism, geometric abstraction, and ‘scientific research' into colour for her exhibition at the Venice Biennale in 2024. From a kimono in the collection of the V&A, a diplomatic gift from the emperor of Japan, Beatriz travels to her Yellow Flower Dream (2018) for the 'Art House Project' on Inujima - an island in the country's Seto Island Sea, also recreated in Kensington, at Japan House London. We touch on more histories of migration in São Paulo, home to Japan's largest diasporic community, and the ‘union' of cultural, economic, and ecological regeneration taking place across continents today. Beatriz Milhazes: Maresias runs at Tate St Ives in Cornwall until 29 September 2024. For more, you can read my article from the first exhibition at the Turner Contemporary in Margate in 2023, in gowithYamo: gowithyamo.com/blog/colour-and-abstraction-beatriz-milhazes-at-margates-turner-contemporary For more from Tate St Ives in Cornwall, hear curator Morad Montazami on the Casablanca Art School (1962-1987). For more from Japan House London, hear curator Hashimoto Mari on Hasegawa Akira's Antique French Military Uniform with Kumihimo (2021), and read about WAVE: Currents in Japanese Graphic Arts (2023), in gowithYamo: gowithyamo.com/blog/wave-currents-in-japanese-graphic-arts-at-japan-house-london PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Send us a Text Message.Hello everyone!I'm so happy to be back, I've been busy working! Today we have a review of Beatriz Milhazes show Maresias that I saw at the Tate St Ives!Here are links to anything I mentioned:https://www.tate.org.uk/whats-on/tate-st-ives/beatriz-milhazes-maresiashttps://turnercontemporary.org/whats-on/beatriz-milhazes-maresias/Joseph Beuys artwork - https://publicdelivery.org/joseph-beuys-7000-oaks/Pedro Reyes artwork - https://www.thisiscolossal.com/tags/guns/Abstract expressionism info: https://www.tate.org.uk/art/art-terms/a/abstract-expressionismBruce Nauman: https://www.stedelijk.nl/en/collection/19166-bruce-nauman-playing-a-note-on-the-violin-while-i-walk-around-in-the-studioHenri Matisse: https://www.jhrehab.org/2016/11/30/matisse-innovation-in-the-face-of-physical-limitations/Cry Twombly - https://gagosian.com/artists/cy-twombly/Colour Field Painters:https://www.moma.org/artists/5047https://www.tate.org.uk/visit/tate-st-ives/display/mark-rothko-the-seagram-muralsRothko Chapel - https://www.rothkochapel.org/learn/about/Morris Louis - https://www.sothebys.com/en/artists/morris-louisThank you for listening, it warms my heart when you doooooEdited on LumafusionMusic from Epidemic SoundsSound Effects from AnchorMic: Samson Q2UMY VINTED - by buying from this it helps to fund my practice!Socials:Instagram - @scarlettart18Website - scarlettford.co.uk Linkedin - https://uk.linkedin.com/in/scarlett-ford-485795208Email - scarlettart18@gmail.comMY VINTED - by buying from this it helps to fund my practice!Socials:Instagram - @scarlettart18Website - scarlettford.co.uk - YOU CAN LISTEN TO THE POD FROM MY WEBSITE!Linkedin - https://uk.linkedin.com/in/scarlett-ford-485795208Email - scarlettart18@gmail.com

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

Curators Ros Carter and Sofie Krogh Christensen chart Pia Arke's photo-activism across the Arctic region, from a pinhole view to wider perspectives on Indigenous and Inuit experiences in the 20th century. Though scarcely exhibited outside Scandinavia, Pia Arke (1958–2007) is widely acknowledged as one of the region's most important artistic researchers, ‘photo-activists', and postcolonial critics. Born in Scoresbysund, Kalaallit Nunaat (Greenland) to a Greenlandic mother and a Danish father, Arke asserted an identity that was defined as neither exclusively Danish or Greenlandic; a ‘third place' that allowed for hybridity and resisted binary categories or polarisation. Through performance art, writing and photography, she examines the complex ethnic and cultural relationships between Denmark and Greenland, using long exposure to highlight continuities over time. Modern Danish colonial rule started in the 18th century, and Greenland wouldn't became a fully autonomous state until the 1970s. Still dependent on grants, much of Greenland's economic and foreign policy remains under Danish control. In 1988, the artist developed her own hand-built, life-size camera obscura to photograph the landscapes of Greenland that she had known as a child. Reconstructed today at John Hansard Gallery in Southampton, and KW Institute in Berlin, the curators share how Arke was drawn to the ‘in-between' media of photography, like herself, a ‘mongrel' which challenged artistic conventions. Arke's self and group portraits, reappropriated photographs, and archive collages also mark stark interventions, reinserting Indigenous and Inuit people and women into Nordic narratives, challenging the artist's exclusion from conceptual art circles, and stereotypes of ‘naive' and folk painting. Arke died before she could experience the growing interest in her work; its continued relevance to questions of representation, climate crises, and the impact of global economics on Indigenous communities throughout the arctic regions, is evident in the work of other artists on display, and contemporaries like Jessie Kleemann, Anna Birthe-Hove, and Julie Edel Hardenberg. We discuss Arke's experience of art education in Copenhagen, and the ongoing efforts by the likes of the Nuuk Art Museum to find a language for Inuit art histories. Plus, we consider shared histories between Greenland, Denmark, and the UK - including the British explorer who gave his name to Scoresbysund. Pia Arke: Silences and Stories runs at the John Hansard Gallery in Southampton until 11 May 2024. The partner exhibition, Pia Arke: Arctic Hysteria, runs at KW Institute for Contemporary Art in Berlin from 6 July 2024. A new publication on Pia Arke's work, co-published by John Hansard Gallery and KW Institute, will be available in late April 2024. Symposiums will take place in both Southampton and Berlin too. Recommended Exhibitions: Outi Pieski runs at Tate St Ives in Cornwall until 6 May 2024. Michelle Williams Gamaker: The Silver Wave runs at the Royal Albert Memorial Museum (RAMM) in Exeter until 27 October 2024. Shuvinai Ashoona: When I Draw runs at The Perimeter in London until 26 April 2024. For more about Godland, Hlynur Pálmason (2023), read my article from the BFI London Film Festival (LFF) 2022. For more about Sonia Ferlov Mancoba, hear curators Winnie Sze (SEE) and Pim Arts, curators at the Cobra Museum of Modern Art in the Netherlands, on We Kiss the Earth: Danish Modern Art, 1934-1948. WITH: Ros Carter, Head of Programme (Senior Curator) at John Hansard Gallery in Southampton. Sofie Krogh Christensen, Associate Curator at KW Institute for Contemporary Art in Berlin. They are the respective curators of Silences and Stories and Arctic Hysteria. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

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

“The artist working alone in their studio is the antithesis of what we do every day as architects […] and yet one hopes that the work you produce might have the same resonance.”Jamie Fobert a Canadian-born architect who has found himself increasingly working on projects at the centre of British culture. Fobert, who has recently become chair of the Architecture Foundation's board of trustees, studied at the University of Toronto before moving to London in 1988, where he worked for for David Chipperfield, before establishing his own practice in 1996. He is best known for his work with major fashion brands and cultural institutions, and has designed retail spaces for Selfridges, Versace and Givenchy, as well as major extensions and alterations to galleries and museums including Tate St Ives, Kettles Yard in Cambridge, and most recently London's National Portrait Gallery. Scaffold is an Architecture Foundation production, hosted by Matthew Blunderfield. Download the London Architecture Guide App via the App Store or Google Play Hosted on Acast. See acast.com/privacy for more information.

Dame Barbara Hepworth (1903 - 1974) was a Sculptor and Artist who was one of the early pioneers of abstract sculpture  in England.  Many of her works incorporated lyrical forms with close connection to the feeling and form of the materials that she used in her work making Barbara Hepworth one of the most influential sculptors of the mid-20th century. At the breakout of World War II Barbara Hepworth moved from London to Cornwall with her husband Ben Nicholson and their young family. Setting up a home and studios in the buildings and gardens of Trewyn studios in St Ives where she lived and worked from 1949 until her death in 1975. Following her death, her home, studio and garden became the Barbara Hepworth Museum and Sculpture Garden. RNIB Connect Radio's Toby Davey recently visited St Ives and went on a guided touch tour of some of Barbara Hepworth's work that is on display in the museum and gardens of the Barbara Hepworth Museum and Sculpture Garden. The guided touch tour of the Barbara Hepworth Museum and Sculpture Garden was lead by trained guides Sarah and Rose included tours of; Infant - wood carved sculpture of a baby 1929, Four Square Walk Through - bronze squares 1966 and Poised Form - Purbeck marble on concrete base 1951 - 52, re-worked 1957.  Toby was also joined by Cassie Penn, Assistant Curator of Public programmes at Tate St Ives who gave a bit of background and history to the Barbara Hepworth Museum and Sculpture Garden, why Barbara Hepworth moved down to St Ives at the beginning of World War II along with the history of the buildings and garden that became her home and studio and now the Barbara Hepworth Museum and Sculpture Garden and talking about her favourite examples of Barbara Hepworth's work.   The Barbara Hepworth Museum and Sculpture Garden in St Ives, Cornwall is managed by Tate St Ives and during the year offers bookable guided touch tours of many of Barbara Hepworth's work which is on display in the museum and Garden. Tours need to be booked in advance by calling 01736 791 177 and more details about the Barbara Hepworth Museum and Sculpture Garden can be found on the following pages of the Tate website - https://www.tate.org.uk/visit/tate-st-ives/barbara-hepworth-museum-and-sculpture-garden (Image shows Four Square Walk Though, a 4.2 meter tall bronze sculpture by Barbara Hepworth made in 1966. The sculpture consists of a base square and 4 separate bronze squares with circles cut into them stacked on top. Two squares face each other on opposite sides of the base with two perpendicular squares stacked on top, above head height. There is a child in the bottom right corner of the photograph looking up towards the top of the sculpture)

Curators Hannah Hooks and Misha Curson connect global environments and food practices, from guerrilla gardeners in the Democratic Republic of Congo, to foragers in Palestine, challenging extractive, colonial approaches to land through contemporary art at the Eden Project in Cornwall. Artemisia afra – or African wormwood – is traditionally used as a medicine to prevent and treat malaria. This knowledge long been passed down through generations and communities via music and craft, both marginalised in Western rational thought. In the 1970s, research to develop new anti-malarial drugs led to the discovery, extraction, and patenting of Artemisin - already used for two thousand years in China and Asia. Whilst still cultivated by some women's cooperatives in the Democratic Republic of Congo, the plant, and its producers, have been continually suppressed and banned, by the Belgian colonial administration in the 19th century, to the World Health Organisation (WHO) and Big Pharma businesses. With a multimedia installation of film, song, and tea tastings, Swiss artist Uriel Orlow seeks to platform these ongoing practices. He joins other contemporary artists in Acts of Gathering, a new exhibition at the Eden Project in Cornwall which explores how our relationship with food is linked with the land, environment, and labour that goes into its production. Harvest festivals in Homowo in Ghana and Guldize in Cornwall link the different practices of Serge Attukwei Clottey and Jonathan Baldock. Meanwhile, in Jumana Manna's film FORAGERS (2022), we see how Israeli nature protection laws prohibit the foraging of native plants, alienating Palestinians from their land, and sustainable harvesting practices. Curators Misha Curson and Hannah Hooks connect traditions across cultures, acknowledging how human and planetary health are also entwined. We discuss legacies of extraction in science, botany, and renewed mining in Africa. Misha and Hannah suggest why some local methods are classed (and commodified) as sustainable, while others are marginalised by globalisation, industrial farming, and neoimperial hierarchies. Plus, we discuss the opportunities Eden presents for public participation, access, and activation as a non-conventional museum space, its position within the wider arts ecology of south-west England, and its own regeneration, as a former clay mine. Acts of Gathering runs at the Eden Project in Cornwall until 14 April 2024. For more, join EMPIRE LINES in conversation with artist Serge Attukwei Clottey at Reclaim - a weekend of talks and events at Eden, curated to support mental and planetary wellbeing - which takes place from 27-28 January 2024: edenproject.com/visit/whats-on/reclaim For more about the arts ecology of south-west England, hear curator Ashish Ghadiali on Radical Ecology's recent exhibition at KARST in Plymouth, on EMPIRE LINES: pod.link/1533637675/episode/146d4463adf0990219f1bf0480b816d3 And Morad Montazami, curator of the Casablanca Art School (1962-1987), currently at Tate St Ives in Cornwall: pod.link/1533637675/episode/db94bc51e697400326f308f6c6eaa3c6 For more on music, memory, and history, hear Barbican curator Eleanor Nairne on Julianknxx's Chorus in Rememory of Flight (2023), on EMPIRE LINES: pod.link/1533637675/episode/1792f53fa27b8e2ece289b53dd62b2b7 And on the globalisation of 'African' masks, listen to Osei Bonsu, curator of A World in Common: Contemporary African Photography at Tate Modern: pod.link/1533637675/episode/386dbf4fcb2704a632270e0471be8410 WITH: Misha Curson and Hannah Hooks, Senior Arts Curator and Arts Curator at the Eden Project, Cornwall. ART: ‘Learning from Artemisia, Uriel Orlow and Orchestre Jeunes Étoiles des Astres (2019-2020)'. SOUNDS: Orchestre Jeunes Étoiles des Astres. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Episode 173: The Casablanca Art School, Platforms and Patterns for a Postcolonial Avant-Garde This podcast about the Casablanca Art School's development in the postcolonial era of 1960-1970s, Morocco, was recorded during the time of the exhibition at Tate St-Ives, 27 May 2023-14 January 2024. It brings together for the first time a selection of 21 artists-activists who significantly participated in the various artistic manifestations and platforms, catalyzed by the Casablanca Art School (M. Melehi, F. Belkahia, M. Chabâa, M. Hamidi, M. Ataallah, M. Agueznay, M. Labied, H. Miloudi, F. Bellamine, Chaïbia...). Their multifaceted geometric abstraction itself working as a platform drawing a much bigger territory of action: critical journals and magazines, interior and graphic design, collecting and studying Afro-Berber popular arts, mural painting, street exhibitions… Eventually the CAS proves to be not only one of the most important postcolonial art schools of the Global South but also a social interface, for rethinking public space (through the arts) in Morocco. The exhibition referred to is curated by Morad Montazami and Madeleine de Colnet for Zamân Books & Curating. Morad Montazami is an art historian, a publisher and a curator. After serving at Tate Modern (London) between 2014-2019 as curator « Middle East and North Africa », he developed the publishing and curatorial platform Zamân Books & Curating to explore Arab, African and Asian modernities. He published numerous essays on artists such as Zineb Sedira, Walid Raad, Latif Al-Ani, Faouzi Laatiris, Michael Rakowitz, Mehdi Moutashar, Behjat Sadr, etc. and curated among other projects Bagdad Mon Amour, Institut des cultures d'Islam, Paris, 2018; New Waves: Mohamed Melehi and the Casablanca Art School, The Mosaic Rooms, London/MACCAL, Marrakech/Alserkal Arts Foundation, Dubai, 2019-2020 ; Douglas Abdell : Reconstructed Traphouse, Cromwell Space, Londres, 2021 ; Monaco-Alexandria. The Great Detour. World-Capitals and Cosmopolitan Surrealism, Nouveau Musée National, Monaco, 2021-2022.     This episode was recorded via Zoom on the 19th of June, 2023 by the Centre d'Études Maghrébines à Tunis (CEMAT)  To see related slides, visit our website: www.themaghribpodcast.com We thank our friend Ignacio Villalón, AIMS contemporary art follow for his guitar performance for the introduction and conclusion of this podcast.  Posted by Hayet Lansari, Librarian, Outreach Coordinator, Content Curator (CEMA).

I'M BACKThis is my review of The Casablanca School of Art show at the Tate St Ives!https://www.tate.org.uk/whats-on/tate-st-ives/casablanca-art-school/exhibition-guidehttps://www.christies.com/features/casablanca-art-school-moroccan-modernism-12791-1.aspxhttps://www.tate.org.uk/whats-on/tate-st-ives/casablanca-art-schoolI forgot to mention Hera Büyüktaşcıyan's exhibition! I really liked it! The lighting was very dramatic and boogie, I also liked the mention to the victims of the earthquake. The graphite drawings on the fabric were beautiful too! The way the fabric had been draped on the stands and sewn into place was beautiful too. MY VINTED Socials:Instagram - @scarlettart18Website - scarlettford.co.uk - YOU CAN LISTEN TO THE POD FROM MY WEBSITE!!Mailing List - https://www.scarlettford.co.uk/contact-9Linkedin - https://uk.linkedin.com/in/scarlett-ford-485795208Email - scarlettart18@gmail.comEdited on LumafusionMusic from Epidemic SoundsMic: Samson Q2UThanks for listening!ScarlettMY VINTED - by buying from this it helps to fund my practice!Socials:Instagram - @scarlettart18Website - scarlettford.co.uk - YOU CAN LISTEN TO THE POD FROM MY WEBSITE!Linkedin - https://uk.linkedin.com/in/scarlett-ford-485795208Email - scarlettart18@gmail.com

Curator Morad Montazami assembles the revolutionary artist-professors and students of the Casablanca Art School who constructed the post-colonial state of Morocco in the 20th century, and how North African crafts were part of both transnational networks, and local traditions, pre-dating Western European modernism. The Casablanca Art School proposed a bold, revolutionary new wave of Arab visual culture following Morocco's declaration of independence from French and Spanish colonial rule in 1956. Reflecting a new social awareness, Farid Belkahia, Mohammed Chabâa and Mohamed Melehi looked beyond Western European academic traditions - and demanded the removal of all Greco-Roman sculptures - sending students to travel more locally, where they encountered traditional arts and crafts more modern than Klee and Kandinsky. The Tate is the only institution in the world to hold works by all three of the Casablanca trio. Morad Montazami, a curator of a landmark new show in St Ives, explores how the School's many artists worked across painting, sculpture, graphic design, and architectural murals, integrating art and infrastructure, and artists and the economy. Plus, why we should decentre the Bauhaus as a Western European school, how artists incorporated modern abstract influences alongside Mexican, pan-Arabic, and Marxist revolutionary politics, why a Dutch anthropologist coined the phrase Afro-Berberism, and how the absence of museum spaces after empire provided an opportunity for more public, accessible art - for the nation to ‘build itself'. The Casablanca Art School: Platforms and Patterns for a Postcolonial Avant-Garde, 1962-1987 runs at the Tate St Ives in Cornwall until 14 January 2024, then at the Sharjah Art Foundation into 2024. For more, you can read my article. WITH: Morad Montazami, art historian, a publisher and a curator. He is the director for the platform Zamân Books & Curating, committed to develop studies of Arab, Asian and African modernities, and co-curator of The Casablanca Art School. ART: ‘Multiple Marrakech/Multiple Flamme (Multiple Marrakech, Multiple Flame), Mohamed Ataallah (1969)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

PSA: This episode was recorded 2 weeks ago, due to illness and short - notice graduate job interviews I was unable to find the time to schedule it. I am getting more settled now into university so my uploading schedule should now resume as normalI hope your all well! I have had quite a break, I have had a lot on with my health recently, and I have been trying to rest and recover, but I am excited to be posting more consistently now!Barbara Hepworth: Art & Life at Tate St Ives!!!You can book tickets for the show here!The exhibition guide that I used as a script for this episode can be seen here!Another show which had Hepworth's work in I did a review of (New Art Gallery Walsall), you can hear that review here:Socials:Instagram - @scarlettart18Website - scarlettford.co.uk - YOU CAN LISTEN TO THE POD FROM MY WEBSITE!!Mailing List - https://www.scarlettford.co.uk/contact-9Linkedin - https://uk.linkedin.com/in/scarlett-ford-485795208Email - scarlettart18@gmail.comEdited on LumafusionMusic from Epidemic SoundsMic: Samson Q2UThanks for listening, this was a long edit and tedious edit hahaScarlett

Tate St Ives Join us on our visit to Tate St Ives. https://www.tate.org.uk/visit/tate-st-ives

Tate St Ives Join us on our visit to Tate St Ives. https://www.tate.org.uk/visit/tate-st-ives

Tate St Ives Join us on our visit to Tate St Ives. https://www.tate.org.uk/visit/tate-st-ives

Tate St Ives Join us on our visit to Tate St Ives. https://www.tate.org.uk/visit/tate-st-ives

Tate St Ives Join us on our visit to Tate St Ives. https://www.tate.org.uk/visit/tate-st-ives

The exhibition ‘Barbara Hepworth: Art & Life' at Tate St Ives not only showcases over 30 examples of the work of one of the twentieth century's most inspiring artists and a true pioneer of modernist sculpture but also reflects on her links with Cornwall. RNIB Connect Radio's Toby Davey caught up with Giles Jackson, Assistant Curator at Tate St Ives for an insight into the life and work of Barbara Hepworth and her work which is on display in the exhibition ‘Barbara Hepworth:  Life & Art' too. Giles began by explaining to Toby why Barbara Hepworth decided to move from London at the outbreak of World War II to set up her home, art studio and workshop  in St Ives. Giles then talked about Barbara Hepworth's early studies at Leeds School of Art and the Royal College of Art in London, her travels around Europe and life in London too and how her early work during these times is explored through the exhibition. Toby and Giles then discussed on how well Barbara Hepworth fitted in with the people and artist community in St Ives and how the local Cornish landscape and people influenced some of her work with examples that are also on display in the exhibition too.  The exhibition also includes some of Barbara Hepworth's stage designs for a production at the Old Vic Theatre in London and also explores her interest in science and technology too.  ‘Barbara Hepworth:  Art & Life' continues at Tate St Ives until 1 May 2023, more details about the exhibition and access at Tate St Ives can be found on the following website or by emailing Visiting .stives@tate.org.uk or calling 0173 679 6226. https://www.tate.org.uk/whats-on/tate-st-ives/barbara-hepworth-art-and-life Image shows: Dame Barbara Hepworth, Oval Sculpture (No.2) (1943, cast 1958) Tate Barbara Hepworth © Bowness. An off-white oval sculpture which resembles the shape of an egg lying on it's side. There is a large hole through the sculpture with two smooth round bridges connecting one side of the hollowed out side to the other. The piece is on a thin, dark wooden plinth 

Burçak Bingöl'le Tate St Ives'de 15 Ocak'a dek devam eden solo sergisi Minor Vibrations on Earth üzerine konuşuyoruz.

This week, we're prompting you to pause and think about what you want. So many online courses promise success through tag lines like "Sell more art" or "Build a Six-Figure Art Business," and it's natural to assume that should be the goal for everyone. Of course there is nothing wrong with wanting to earn a good living from our work, but it isn't the only way to go. It's too easy to get sucked into pursuing things that others value without truly understanding if they are important to us. Perhaps you don't want to sell your art... or maybe you want to supplement your income in some other way. Maybe you want a gallery ... or perhaps you just want to sell online. In this episode, we discuss the importance of admitting our desires to ourselves. If we don't acknowledge and accept them, no-one else will! Alice then shares 5 key questions that can help you get to the root of your own desires and preferences. Mentioned Self Care Club podcast: How to Have a Difficult Conversation https://podcasts.apple.com/gb/podcast/how-to-have-a-difficult-conversation/id1505703522?i=1000578355383 Gary Vee on choosing what you want: https://www.youtube.com/watch?v=vB_6brOEEgM Ken Spooner https://www.cornwallcontemporary.com/exhibition/ken-spooner-exhibition/ Joan Eardley Painting at Tate St Ives https://www.tate.org.uk/art/artworks/eardley-salmon-net-posts-t04133 Find Alice and Louise at: www.alicesheridan.com www.louisefletcherart.com Follow us on Instagram: @alicesheridanstudio @louisefletcher_art Credits: "Monkeys Spinning Monkeys" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License

helllooo,I am back in uni tomorrow!!!!! Wow!!!I recently went to Tate St Ives, will do my art review soon, felt I needed to discuss the fact that I am going back to uni soon and the Queen's passing.Socials:Instagram - @scarlettart18Website - scarlettford.co.uk - YOU CAN LISTEN TO THE POD FROM MY WEBSITE!!Mailing List - https://www.scarlettford.co.uk/contact-9Linkedin - https://uk.linkedin.com/in/scarlett-ford-485795208Email - scarlettart18@gmail.comEdited on LumafusionMusic from Epidemic SoundsMic: Samson Q2UThanks so much for listening!Scarlett

The Tate St Ives and the Barbara Hepworth Garden have lots of accessible events and touch tours you can head along too. Ellie's been finding out just what's on offer and get's a preview tour of what you could expect from the Talking Garden Tour To find out more about the Tate St Ives, please visit their website here: Tate St Ives | Tate The next Talking Art event is taking place on Saturday 17th September, you can book by calling  01736 791177  Image Shows: Barbra Hepworth Gardens.© Bowness.

Born in Bristol in 1950, Jem Southam is one of the UK's most renowned landscape photographers, working predominately in the South West of England where he lives. Jem's richly detailed works document subtle changes and transitions within the landscape, allowing him to explore cycles of life and death, decay and renewal, through spring and winter, and also to reveal the subtlest of human interventions in the natural landscape. His work is characterised by its balance of poetry and lyricism within a documentary practice and combines topographical observation with other references: personal, cultural, political, scientific, literary and psychological. Jem's working method combines the predetermined and the intuitive. Seen together, his series suggest the forging of pathways towards visual and intellectual resolution.Jem has had solo exhibitions at The Photographers Gallery, London, Tate St Ives, Cornwall and The Victoria & Albert Museum, London and his work is held in many important collections, both in the UK and internationally.Until his retirement from teaching three years ago, Jem was Professor of Photography at the University of Plymouth and he is represented by the Huxley Parlour Gallery in London. On episode 174, Jem discusses, among other things:His student experience.Changes to the photographic culture.The importance of negative film.The gallery he ran in Bristol with friend Adrian Lovelace.Myths and stories.Bodies of water and Winter.What is a river?The influence of land art.The Pond at Upton Pyne.His switch to digital and how a broken elbow contributed to it. Referenced:Martin ParrPaul StrandBill BrandtPaul GrahamTony Ray JonesThe BechersRobert AdamsSusan ButlerAdrian LovelaceBruegelRichard HamlynBarbara BosworthJosef SudekSigma DP2 Instagram“I made a still life picture of an apple when I was a student, with a plate camera. I still remember now that I stood back took the cloth off the top of my head and I said ‘this is what I want to be doing for the rest of my life'... This apple stood in for the colour of the English landscape. It was a sort of metaphorical kind of emblem.”— Jem Southam

Born 1953 in Cardiff, Wales, Peter Fraser acquired his first camera at the age of 7 and after a false start studying Civil Engineering, at 18, began studying photography at Manchester Polytechnic the following year. In the summer of 1974 he lived in New York and worked at the Laurel Photography Bookstore at 32nd St and 6th Avenue which significantly expanded his sense of photography's expressive possibilities. He graduated in 1976 after repeating his 3rd year due to major illness crossing the Sahara, while photographing in West Africa.Peter lived in Holland and Hebden Bridge, West Yorkshire, before moving back to Manchester in 1981. He then began working with a Plaubel Makina camera in 1982 which led to an exhibition with William Eggleston at the Anolfini, Bristol in 1984, and a move to that city. In summer 1984 Peter travelled to Memphis, USA to spend nearly two months with Eggleston, which confirmed for him the desire to commit his life to working with colour photography.He then worked on several series of photographs, leading to a first publication, Two Blue Buckets which won the Bill BrandtPrize in London (the precursor of the CitiBank International Photography Prize), in 1988.He moved to London in 1990, subsequently publishing several new bodies of work,  including Ice and Water1993, Deep Blue 1997,Material 2002, and Peter Fraser (Nazraeli Press) 2006.In 2002, The Photographers' Gallery, London, staged a 20 year survey exhibition of Peter's work, and he was shortlisted for the Citigroup International Photography Prize in 2004. In 2006 he was invited to be an Artist in Residence at Oxford University, England and produced new work for permanent installation in their new Biochemistry building in 2008.In 2009 Peter was given a major commission by The Ffotogallery, Wales, to return to his country of birth, to make new work for a solo exhibition at the gallery, which opened in March 2010, with a new publication, Lost For Words.In 2008 Fraser began working on A City In The Mind a new series of photographs in London, which was shown at Brancolini Grimaldi Gallery, London in May 2012 accompanied by a Steidl Publication.From January to May 2013, Tate St Ives held a retrospective of Fraser's career, the first Tate Retrospective for a living British Photographer working in colour, and Tate published a major monograph on the whole of Fraser's career with a text by David Chandler. Tate purchased 10 works for their permanent collection from theTwo Blue Buckets series in 2014.In 2014 Peter was awarded an Honorary Fellowship by the Royal Photographic Society, UK.In spring 2017 Peperoni Books, Berlin, published a new ‘Director's Cut' of Fraser's 1988 publication Two Blue Bucketswith 19 missing images from the original, and a new essay by Gerry Badger and a discussion between Fraser and David Campany.In 2017 Peter's exhibition Mathematics was exhibited at the Real Jardin de Botanico, Madrid, part of PhotoEspana 17 and Skinnerboox, Italy, published Mathematics with 52 colour plates, and essays by Mark Durden, David Campany and an afterword by Peter. The first UK exhibition of Mathematicsopened at Camden Arts Centre, London on the 5th July, and ran to 16th September 2018. The accompanying File Note no 120 published by the gallery, featured a specially commissioned essay The Things That Count by Amy Sherlock, Deputy Editor of Frieze.In March 2021 Peter received a Pollock Krasner Foundation Award, to support the production of new work in the UK and across Europe in the time of Covid-19 ‘paying subtle attention to atmosphere and nuance, quietly reflecting on manifestations of our responses to the enormous changes taking place across the human landscape'. On episode 172, Peter discusses, among other things:The Pollock Krasner Foundation Award.Responses to Covid and his approach.Poetic truth vs. documentary truth.How he came to live in Hebden Bridge, Manchester.Seeing in colour, having made a B&W darkroom.His epiphany in the sahara desert.The influence of the film, Powers of Ten, which he saw at 15.His love of mathematics and how he came to explore it photographically.His Two Blue Buckets image and why it's significant.Staying with William Eggleston in the 80s and what he took away from it.His ‘lost decade', broke in London, printing for Martin Parr and other photographers. Referenced:Jackson PollackTed HughesAlbert Street Workshop - Ray Elliott and Jenny Beavan Martin ParrCharlie MeechamBrian GriffinPaul GrahamCharles and Ray Eames - Powers of TenMax TegmarkThe New Colour Photography by Sally EuclaireJem SouthamWilliam Eggleston Flannery O'connorVolker HelnzMarcus HansenChris Dorley BrownDafna TalmorWolfgang TillmansNick SerotaWilliam ScottDavid ChandlerWebsite | Instagram“I'm absolutely awestruck by the almost incomprehensible beauty and strangeness of everything that is around us. And that goes to the very heart of what I've spent 40 years trying to investigate.”

Petrit Halilaj was born in Kosovo in 1986 and grew up in the small town of Runik. He always loved drawing and had a rare talent for it. When war broke out in Kosovo and Serbian troops moved into their hometown, Petrit and his family had to flee, eventually finding sanctuary in a refugee camp in Albania. It was there, in 1999, that Petrit met the Italian psychologist Giacomo 'Angelo' Poli who encouraged the children to communicate the traumas they had experienced, through drawing. Using only felt tip pens, Petrit's drawings ended up being beamed all over the world. They even caught the attention of the then UN Secretary General Kofi Annan who asked to meet Petrit during a visit to the camp. Many years on, Petrit is now a highly acclaimed artist. He recently exhibited work based on some of the drawings from the refugee camp, at Tate St Ives in Cornwall in the South West of England. The show is called Very volcanic over this green feather. The clip you heard came from Swedish broadcaster SVT Presenter: Jo Fidgen Producers: Andrea Kennedy & June Christie Get in touch: outlook@bbc.com (Photo: Petrit Halilaj and Dr Giacomo Poli, 1999. Credit: Giacomo Poli)

Petrit Halilaj was born in Kosovo in 1986 and grew up in the small town of Runik. He always loved drawing and had a rare talent for it. When war broke out in Kosovo and Serbian troops moved into their hometown, Petrit and his family had to flee, eventually finding sanctuary in a refugee camp in Albania. It was there, in 1999, that Petrit met the Italian psychologist Giacomo 'Angelo' Poli who encouraged the children to communicate the traumas they had experienced, through drawing. Using only felt tip pens, Petrit's drawings ended up being beamed all over the world. They even caught the attention of the then UN Secretary General Kofi Annan who asked to meet Petrit during a visit to the camp. Many years on, Petrit is now a highly acclaimed artist. He recently exhibited work based on some of the drawings from the refugee camp, at Tate St Ives in Cornwall in the South West of England. The show is called Very volcanic over this green feather. The clip you heard came from Swedish broadcaster SVT Presenter: Jo Fidgen Producer: Andrea Kennedy & June Christie Get in touch: outlook@bbc.com (Photo: Petrit Halilaj and Dr Giacomo Poli, 1999. Credit: Giacomo Poli)

Tell us what you like or dislike about this episode!! Be honest, we don't bite!How important is your school education in the life of business? Anthony Wallersteiner was a History Scholar at Trinity College Cambridge and completed his Doctorate in Art History and Theory at the University of Kent. He was shortlisted for the Daily Telegraph and Spectator Young Journalist of the Year Competition for a report on dissident writers in Eastern Europe. Anthony taught at Sherborne, St Paul's and Tonbridge. In 2003 Anthony was appointed Head of Stowe and won the title of Tatler Headmaster of the Year in 2006 (Stowe has twice been shortlisted School of the Year). Anthony has written articles for newspapers and magazines such as The Times, The Telegraph, Burlington Magazine, School House, Country Life and Tatler and contributed chapters to a number of books including The Head Speaks and Stowe House: Saving an Architectural Masterpiece. Trusteeships have included governing at Maidwell, Winchester House and Summer Fields, membership of the Council of Tate St Ives, Children in Crisis (Chair) and, from March 2018, Co-Chair of Street Child. In January 2021 Anthony became Executive Head of The Stowe Group which includes Stowe, Winchester House and Swanbourne House.—Thanks for watching!SUBSCRIBE NOW FOR MORE TIPS—WebsiteInstagramTik TokFacebookTwitterLinkedIn—LISTEN TO THE PODCAST!SpotifyApple—Who Is Matt Haycox? - Click for BADASS TrailerAs an entrepreneur, investor, funding expert and mentor who has been building and growing businesses for both myself and my clients for more than 20 years, my fundamental principles are suitable for all industries and businesses of all stages and size.I'm constantly involved in funding and advising multiple business ventures and successful entrepreneurs.My goal is to help YOU achieve YOUR financial success! I know how to spot and nurture great business opportunities and as someone who has ‘been there and got the t-shirt' many times, overall strategies and advice are honest, tangible and grounded in reality.

The work of the Kosovar artist Petrit Halilaj explores his experiences of war as a child. A solo exhibition at Tate St Ives in Cornwall, England draws from pictures that he made as a teenager in a refugee camp in Albania.

In episode 171 UNP founder and curator Grant Scott is in his shed reflecting on mentorship, teaching and the passing on of information. He also provides his final found rules for life. Plus this week photographer Peter Fraser on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Peter Fraser bought his first camera at the age of 7 and went to school in Wales until 1971, when he left to study Civil Engineering for three months at Hatfield Polytechnic, before deciding to study photography at Manchester Polytechnic between 1972 and 1976, repeating his final year due to becoming seriously ill crossing the Sahara Desert in early 1975. Fraserwas an early adopter of colour photography in the UK, and began exhibiting colour photographs in 1982. In 1984, he travelled to Memphis, USA to spend two months with William Eggleston, after meeting him at Eggleston's first UK exhibition opening the previous year. Between 1983 and 1986, Fraser made the exhibitions, Twelve Day Journey, The Valleys Project, Everyday Icons and Towards an Absolute Zero which led to his first publication Two Blue Buckets in 1988. This book won the Bill Brandt Award hosted by the Photographers' Gallery in 1989. In 1990 Fraser was invited to be the British Artist in Residence in Marseilles, which led to the subsequent exhibition and publication Ice and Water. He travelled widely in the early 1990s to scientific research establishments photographing machines at the cutting edge of technology, proposing a series of ‘Portraits' of machines shown and published as Deep Blue. While visiting nearly 60 scientific sites, he frequently photographed in scientific ‘Clean Rooms' where particles of dust above a certain size were not admitted. Subsequently, he decided to start photographing ‘dirt and other low status' material. Simultaneous to this work was a University of Strathclyde commission to make new Art in their Applied Physics Department. This led to two series being combined into a single new series of photographs, Material published in 2002. The same year The Photographers' Gallery showed a 20-year overview of Fraser's work, and in 2004 he was shortlisted alongside Robert Adams, David Goldblatt and Joel Sternfeld for the Citigroup International Photography Prize. In 2006 Fraser was invited to be an Artist in Residence at Oxford University to make photography for the Biochemistry Department. In 2009 he was commissioned by Ffotogallery, Wales, to make work across the country that resulted in the exhibition and publication Lost For Words. In 2012 Fraser exhibited A City in the Mind at the Brancolini Grimaldi Gallery, London. In 2013 Tate St Ives exhibited a selected retrospective of his work, and published a monograph containing photographs from all of Fraser's major series to date. In 2013 Fraser received an Honorary Fellowship from the Royal Photographic Society. In 2017 his exhibition Mathematics was exhibited as part of PhotoEspana 17, and Skinnerboox, Italy, published Mathematics. The first UK exhibition of Mathematics opened at Camden Arts Centre, London in 2018. The accompanying File Notes no 120 published by the gallery, featured a specially commissioned essay The Things that Count by Amy Sherlock, deputy editor of Frieze. www.peterfraser.net Dr. Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, documentary filmmaker, BBC Radio contributor and the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019). © Grant Scott 2021

Episode 6. Martin Clark is a curator and the director of Camden Art Centre in London. Art has taken Martin all over the world. From the Arnolfini in Bristol and Tate St Ives in Cornwall to the Bergen Kunsthall in Norway. Sharing his love of new art and artists is what drives Martin every day. The Botanical Mind: Art, Mysticism and The Cosmic TreeThis exhibition just opened at https://camdenartcentre.org/ (Camden Art Centre) in London – on until December 23. The Botanical Mind brings together the work of over 50 artists, spanning more than 500 years, to investigate the ongoing significance of the plant kingdom to human life, consciousness & spirituality. Listen to this episode to hear Martin Clark speak about the inspiration behind this show. Plus the necessary twists and turns brought on by a certain… worldwide pandemic. Not something you're expecting to happen right when an exhibition is scheduled to open! Art & The Environment:A more sustainable global perspective. Yes, we can still be committed to internationalism. But how can the art world be more sustainable? Artist residencies and virtual exhibition walkthroughs are just a couple of possibilities. Foster local creativity but still reach out and celebrate our multicultural world. Finding creative solutions. There's loads of work still to be done as we all consider the environmental impact of our businesses, our lives. Does that mean less flying? Fewer big exhibitions travelling the world? Let's all find ways to continue to explore, make connections and celebrate the diverse world we live in. Further Inspiration:https://www.theguardian.com/books/2020/mar/30/funny-weather-art-in-an-emergency-olivia-laing-review (Olivia Laing: Funny Weather) A fantastic collection of essays on art and artists. http://olivialaing.co.uk/lonely-city (Olivia Laing: The Lonely City) A different take on loneliness: “that loneliness could be a really productive, creative and special space, particularly for art and the making of art”. https://norwegianrain.com/ (Norwegian Rain) Made in Bergen. “The philosophy is simple. Hard core functional and waterproof outerwear that does not compromise on style. The hi-tech is hidden”. Gorgeous rainwear to make you welcome the rain! Seasonal Colour Analysis:Ever wondered why certain colours suit you more than others? Discovering your true colours is a transformative experience. It's like having a face lift… but better. Wearing your true colours evens out your complexion, makes you look more youthful and energetic, and is a brilliant confidence booster. Wearing your true colours is also likely to get the compliments flowing. What to know a little secret? It's all about your skin tone. And how colour reflecting close to your face reacts with your skin. Colour analysis is a powerful blend of genetics, science and psychology. Alexandria helped Martin discover his true colours shortly before the pandemic hit the UK. Have a listen to this episode to hear more about Martin's experience. Full show notes for this episode: https://alsoinpink.com/6-martin-clark/ (visit our official site) And, wherever you get your podcasts: https://ratethispodcast.com/alsoinpink (Rate & Review ALSO in PINK) Thank you for your support!

Maria Balshaw is the Director of Tate, overseeing four major art galleries: Tate Britain, Tate Liverpool, Tate Modern and Tate St Ives. Maria was born in 1970 in Birmingham, and grew up in Northampton, where her father, Walter, was a parks officer, and her mother, Colette, was a teacher. She read English and Cultural Studies at the University of Liverpool and fell in love with the newly opened Tate Liverpool at Albert Dock. After working as an academic for almost a decade, she changed career and headed a government campaign to inspire creativity in schools. In 2006, she became director of the Whitworth gallery in Manchester, where she promoted works by women artists and oversaw a major redevelopment and expansion of the building. The Whitworth won the Art Fund Museum of the Year award in 2015. Maria also took on the roles of Director of Manchester City Galleries, and Director of Culture for Manchester City Council. The Observer called her “a northern powerhouse in her own right”. She took over leadership of the four Tate galleries from Sir Nicholas Serota in June 2017, and is the first woman to hold this role. Maria has two children from her first marriage and lives in Kent and London with her second husband, Nick Merriman, Director of the Horniman Museum. DISC ONE: Ghost Town by The Specials DISC TWO: Wild is the Wind by David Bowie DISC THREE: It's a Sin by Pet Shop Boys DISC FOUR: Love Hurts by Emmylou Harris with Gram Parsons DISC FIVE: Hope There's Someone by Antony and the Johnsons DISC SIX: Cantelowes by Toumani Diabaté DISC SEVEN: Waiting for the Great Leap Forward by Billy Bragg DISC EIGHT: Crown by Stormzy BOOK CHOICE: Vickery’s Folk Flora: an A-Z of the Folklore and Uses of British and Irish Plants by Roy Vickery LUXURY ITEM: A full set of flower and vegetable seeds CASTAWAY'S FAVOURITE: Waiting for the Great Leap Forward by Billy Bragg Presenter: Lauren Laverne Producer: Cathy Drysdale

In episode 33 of The Great Women Artists Podcast, Katy Hessel interviews one of the most groundbreaking, important, and influential artists working in the world today, the Turner-Prize winning artist, LUBAINA HIMID!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] Known for working in painting, drawing, collage, printmaking, cut-outs, and installations, Himid paints onto a variety of surfaces from ceramic to wood which produce objects with performative potential intended to be encountered in a space.  A tireless champion of marginalised voices, Himid has dedicated her thirty-year-plus career to uncovering silenced histories, to valorise ‘the contribution Black people have made to cultural life in Europe for the past several hundred years’. Born in Zanzibar in 1954, Himid moved to Britain with her mother when she was just four months old. She studied Theatre Design at Wimbledon College of Art, and later Royal College of Art. In the 1980s, Lubaina became one of the LEADERS and TRAILBLAZERS of Britain’s Black Arts movement, curating three shows – which we disucss in depth. Living and work in Preston, she is a CBE, a Royal Academician, the winner of the 2017 Turner Prize, and a professor at the University of Central Lancashire; in the collection of the Tate, V&A, Whitworth, Walker Art Gallery, plus more; and has had solo exhibitions at the New Museum in New York, Tate St Ives, Chisenhale, and it has just been announced that Lubaina will have a major solo exhibition at Tate Modern in November 2021.  This is really one of the greatest conversations I have EVER had. I am completely in awe at Lubaina and her BRILLIANT work that remains more present than ever. I really hope you enjoy this episode. This episode is sponsored by Alighieri  https://alighieri.co.uk/ @alighieri_jewellery Use the code: TGWA for 10% off!  Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Amber Miller (@amber_m.iller) Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

DRAF Broadcasts: Podcast with Laura SmithHaving worked as a Curator at Tate St Ives for many years before moving to Whitechapel Gallery, Laura Smith has a good understanding of the benefits of building relationships with local audiences. Her curatorial approach is one that foregrounds good social relations between everyone involved in making, hanging and experiencing an exhibition. Collaboration and shared experience are important to her, as it is through creating this sense of community and trust that you can really challenge audiences (from 8:33). As Smith states; "If we can care for each other, it makes the making of that exhibition a positive experience for everybody with vital and beneficial conversations, rather than a stressful encounter" (28:32).David Roberts Art Foundation works with the David Roberts Collection, currently through collaboration and partnerships with institutions around the UK. In part, it was due to Whitechapel Gallery having a ten year history of hosting external collections, ranging from public, private, to corporate, and Smith’s experience of working with the Tate Collection that led to her being invited on this podcast. She discusses various approaches to working with collections, including how it can open up research, the importance of bringing works that don’t usually get shown into the public focus, commissioning short stories in response to a collection's narrative or working with guest selectors (from 20:48).  BIOLaura Smith was appointed Curator of Whitechapel Gallery in February 2018, where, among others, she has worked on the first UK survey show for Elmgreen & Dragset and with Helen Cammock, who won the 2017-19 Max Mara Art Prize for Women and was a co-winner of the 2019 Turner Prize. Prior to the Whitechapel Gallery, Laura was Curator at Tate St Ives, where she was responsible for a series of international historic and contemporary projects by artists including Rebecca Warren, Jessica Warboys, Linder, Marlow Moss, R.H. Quaytman, Bridget Riley, Lucy Stein, Nashashibi/Skaer, as well as group exhibitions such as Virginia Woolf: An Exhibition Inspired by Her Writings (2018), Turner Prize 2016 (2016) and Images Moving Out onto Space (2015). Laura writes extensively on modern and contemporary art. Most recently she has contributed a chapter to Oxford University Press' Virginia Woolf Reader on Woolf's influence on the visual arts, an essay on Lisa Brice to accompany her solo exhibition at Stephen Friedman Gallery, and a forthcoming monograph on Eileen Agar - soon to be published by Eiderdown Books. Want to hear more? Be sure to give Episode 2 of the DRAF Broadcasts: Podcast  as listen, where Joe Hill, Director of Towner Eastbourne, has been invited to talk about approaches to working with a collection, and turning the museum into a more social space. Have questions, comments or want to see more of what DRAF does? Reach us via davidrobertsartfoundation.com, @draf_art and subscribe to our newsletter! 

Emma Talbot is an artist based in London and is winner of the 8th Max Mara Art Prize for Women. Through drawing, painted silk hangings, 3 dimensional forms, installation, sound and - most recently - animation, Emma has developed a distinct visual world. . . Her work explores personal subjectivity, which is then cast into the wider context of prevalent contemporary concerns - such as our relationships with nature, our intimate engagement with technology, the way we communicate and power structures. Emma’s work has a hand-drawn, direct quality - using combinations of figurative imagery, painted text and flowing pattern to articulate non linear narratives. . . Recent exhibitions include GEM Kunstmuseum, The Hague, A 2019 ArtNight Commission at William Morris Gallery, London, Tate St Ives, Turner Contemporary and Arcadia Missa New York . . Emma has forthcoming solo exhibitions at Eastside Projects Birmingham, Dundee Contemporary Arts and Kunsthalle Giessen, Germany, The Whitechapel Gallery and Collezione Maramotti. . . You can get in touch with us with opinions and suggestions at: Email - tothestudio@gmail.com Instagram - instagram.com/tothestudio Facebook - facebook.com/tothestudiopodcast . . This podcast features an edited version of the song "RSPN" by Blank & Kytt, available under a Creative Commons Attribution license. http://freemusicarchive.org/music/Blank__Kytt/Heavy_Crazy_Serious/Blank__Kytt_-_Heavy_Crazy_Serious_-_08_RSPN

Russell and Robert chat to Maria Balshaw CBE, Director of Tate, a family of four art galleries in London, Liverpool and Cornwall known as Tate Modern, Tate Britain, Tate Liverpool and Tate St Ives. Balshaw is Tate’s first female Director.We discuss the effect of the lockdown on Tate museums, filming guided tours for their website of the on-hold blockbuster Andy Warhol and Aubrey Beardsley exhibitions for the public to access during lockdown, the increased global usage of their website during the pandemic in particular as a resource for children's art education, her passion for gardening, the lasting influence of Derek Jarman (and his music videos for Pet Shop Boys), the great news that Jarman’s house ‘Prospect Cottage’ has been saved for the nation by Artfund’s campaign and some inspiring lessons learned from collaborating with artist Marina Abramović.We learn of Maria's admiration for Steve McQueen's artwork and his recent epic portrait of London’s Year 3 school pupils (exhibited at Tate Britain), her love of Cornelia Parker's installation 'Cold Dark Matter' (which she first saw at Chisenhale gallery in 1991) and her longterm commitment to redressing the imbalance of representation for women artists, artists of colour and queer artists in museum collections and exhibition programmes. Recently a number of watercolours by Emmeline Pankhurst’s daughter Sylvia Pankhurst, best remembered as an activist/campaigner for the UK Suffragette movement, became part of Tate Collection. Finally we reminisce about Anne Imhof's now legendary live performance series at Tate's Tanks in 2019.We explore her years working as Director of the Whitworth, University of Manchester and Manchester City Galleries, when she oversaw the £17 million transformation of the Whitworth, which was subsequently awarded the Art Fund Museum of the Year award for 2015. She was also Director of Culture for Manchester City Council from 2013-2017, played a leading role in establishing the city as a leading cultural centre for the UK. She is currently a Board Member of Arts Council England, the Clore Leadership Programme and Manchester International Festival. Maria was awarded a CBE in the Queen’s Birthday Honours for services to the arts in June 2015.Follow @MariaBalshaw on Instagram & @MBalshaw Twitter and @Tate on all social media platforms. Tate's website is: www.tate.org.uk For images of artworks discussed in this week's episode please visit @TalkArt and we are now on Twitter too @TalkArtPodcast. Thanks for listening! See acast.com/privacy for privacy and opt-out information.

“I don’t want to use a language that really segregates people. I don’t want to use a language that makes them think about gender – if they are looking at a female artist or a male artist.” Rana Begum.     Rana was born in Bangladesh and came to Britain as a child. She is an artist who works across sculptural materials and crosses disciplines. She is working through what sculpture can be in the world, moving across disciplines like paintings, architecture, design and furniture. She also uses colour and light as materials and doesn’t define herself as a ‘sculptor’ – she calls herself ‘a visual artist.’   We interviewed her in her studio, asking about definitions of sculpture, and things which aren’t usually spoken about – how to balance family life and her artistic career, and the problems she has encountered. We asked her about biography, race, identity and Britishness and how these issues feed into her work.    “Living in East London I feel like I’m almost living in a bubble. (You leave and) you are made to remember your skin colour, you’re made to remember your gender, you’re made to remember your religion and all of those things you take for granted when you live in a place like this.” Rana Begum. With contributions from: ·      Rana Begum, R.A. ·      Anne Barlow, Director, Tate St Ives ·      Hammad Nasar, Senior Research Fellow, Paul Mellon Centre for Studies in British Art, and curator of the British Art Show 9 ·      Clare Lilley, Director of Programme, Yorkshire Sculpture Park

Russell and Robert return for Season 5! Recorded primarily during quarantine lockdown, we’ve reached out to international creative guests from art, design, music, sport, fashion, TV and film. Every Tuesday & Friday (yes, twice a week!) we will bring you voices that inspire us and that we hope will inspire you too. These are unprecedented, scary, challenging and deeply sad times. We strongly believe in art and in its power to unify, to resonate, to bring hope through adversity, to offer encouragement but most of all to shine light in the darkest of moments.For episode 1, we meet artist Issy Wood, best-known for her incredible paintings but also as an acclaimed musician and writer. Represented by Carlos Ishikawa in London and JTT in New York. Wood’s paintings find comfort in the uncomfortable, and vice versa. Uncannily familiar yet entirely strange, they are both painterly in an impressionist style and subtle imposters in their anachronism. Depicting contemporary ephemera such as mobile phones and car interiors, she impulsively renders apparently unconnected subject matter on lush velvet or discarded items of clothing, mimicking the non-sequiturs of social media. These works indicate an obsessive relationship to commodities, both treasured and discarded, inherited or stolen, gathered from the pages of auction catalogues, or snapshots from her on and offline surroundings.Palpable throughout the work is Wood’s negotiation of her personal life through her relationship to objects and figures, such as Joan Rivers’ auctioned jewellery and Rivers herself, which she invests with fetishistic and sometimes tragic symbolism. The patterns of thematic repetition in her body of work perform a pathological, even medical, excavation; or perhaps an attempt to exorcise their seductive appeal, treading the fine line between advert and pervert.The resulting vision is a mournful one, rendered in a muted palette, and compositionally disquieting, with implausible perspectives, crushed distances and a certain claustrophobia – we never see a sky line or a full body. Here and there, faces might emerge from inert forms, or incongruous objects jar in the pictorial frame, lacing Wood’s work with a neurotic and hallucinogenic humour.Issy Wood graduated from RA Schools, London (2018), and studied BA Fine Art & History of Art, Goldsmiths (2015). She has previously exhibited at MoMA, Warsaw (2019), JTT, New York (2019), D.E.L.F, Vienna (2018), Carlos/Ishikawa, London (2017). Her work has been included in group exhibitions at Zabludowicz Collection, London; Lisson Gallery, London; S12, London; Mendes Wood, Brussels; Société, Berlin; Tate St Ives, UK; White Cube, London; amongst others. See acast.com/privacy for privacy and opt-out information.

“Hepworth... didn’t see herself as a feminist at all and didn’t see herself as ‘a pioneering woman’, she just felt she was a pioneering sculptor.” Stephen Feeke, curator and writer.  Barbara Hepworth was born in Wakefield, West Yorkshire, in 1903. By the time of her death in 1975, she had become one of the most important artists of the century, creating a poignant and innovative sculptural language. She is extremely unusual for a woman artist in that she has two museums named after her.  Although a lot has been written about Hepworth, there is still a great deal to find out – there is a mystique and there are assumptions made about her. In this episode, we challenge those ideas, go to the places she lived and worked, and explore why she remains such a powerful influence on artists today.    “A normal person from Wakefield, a remarkable artist but a remarkable woman.” Eleanor Clayton, Curator, The Hepworth Wakefield.  With AMAZING contributions from: ·      Eleanor Clayton, Curator, The Hepworth Wakefield ·      Sara Matson, Curator, Tate St Ives ·      Stephen Feeke, Curator and Writer ·      Clare Lilley, Director of Programme, Yorkshire Sculpture Park In the episode, we visit these incredible places associated with Hepworth's career and legacy: The Hepworth, Wakefield (https://hepworthwakefield.org/) Barbara Hepworth Museum and Sculpture Garden (Tate), St Ives (https://www.tate.org.uk/visit/tate-st-ives/barbara-hepworth-museum-and-sculpture-garden) Yorkshire Sculpture Park (https://ysp.org.uk/) For the art works discussed in this episode and more images related to our research on Hepworth, visit @sculptinglives (https://www.instagram.com/sculptinglives/?hl=en) on Instagram Image: Dame Barbara Hepworth, Corymb, 1959, bronze, 33.7 x 34.5 x 25.6 cm. Collection Barbara Hepworth Museum and Sculpture Garden, Tate St Ives (T12281). © Bowness

Martin Scorsese has the most Oscar nominations of any living director though he has only won once, for his 2006 film The Departed. Nominated again this year for The Irishman, he talks about the film’s themes of ageing, guilt and redemption – and about how it would feel to win. As part of our season looking at risk in the arts, we consider when risk is disproportionately apportioned to working with diverse talent like women or black artists. The result is that white male practitioners are seen as a safe pair of hands and women and BAME talent are ignored even if they have proven their success in the past. We investigate the scale of the problem and what can be done to change it with Dawn Walton, Head of Revolution Mix theatre group and Clare Binns Joint Managing Director, Picturehouse. Artist, engineer, architect and poet, Naum Gabo was a leading spirit in the radical arts flourishing after the Russian Revolution. When the Soviet authorities cracked down on avant-garde art, Gabo worked at the Bauhaus in Germany, collaborated with Diaghilev in Paris, and energised London's art scene. During the war Barbara Hepworth and Ben Nicholson persuaded him to come to St Ives. His work was startlingly spare and made beautiful use of industrial materials. Tate St Ives presents the first major exhibition of Gabo’s work for more than 30 years. Michael Bird, who lives in St Ives and has written about Gabo, reviews the show. Presenter: John Wilson Producer: Oliver Jones Main image: Martin Scorsese

Cultural Peeps Podcast Episode 4: Emma Thomas Links to Podcast content: Seaton Delaval Hall: https://www.nationaltrust.org.uk/seaton-delaval-hall National Trust: https://www.nationaltrust.org.uk/ Seaton Delaval Hall Redevelopment: Heritage Lottery Fund helps put the drama back into Seaton Delaval Hall (Article): https://www.nationaltrust.org.uk/seaton-delaval-hall/features/heritage-lottery-fund-helps-put-the-drama-back-into-seaton-delaval-hall Christies: https://www.christies.edu/ Tate St Ives: https://www.tate.org.uk/visit/tate-st-ives Museum of Modern Art Oxford: https://www.modernartoxford.org.uk/ The Bluecoat (Liverpool): https://www.thebluecoat.org.uk/ Liverpool Biennial: https://www.biennial.com/ Baltic: http://baltic.art/ Quay at Baltic: http://baltic.art/visit-quay BALTIC publication: learning on the frontline: http://balticplus.uk/baltic-learning-on-the-frontline-c21169/ St Mary’s Heritage Centre: https://www.gateshead.gov.uk/article/4521/St-Mary-s-Heritage-Centre Sune Nordgren: http://www.sunenordgren.com Engage: https://www.engage.org/ NSEAD: http://www.nsead.org/home/index.aspx Northern Architecture: https://www.northernarchitecturelegacy.com/ Don’t forget you can follow the podcast at: Twitter: twitter.com/culturalpeeps Instagram: www.instagram.com/culturalpeeps/ SoundCloud: @culturalpeeps Facebook: www.facebook.com/culturalpeeps/ SoundCloud: https://soundcloud.com/culturalpeeps Blog: https://culturalpeeps.wordpress.com/

Rob Brydon, Daniel Mays and Adeel Akhtar were among the actors spending long hours in swimming pools last summer rehearsing for, and shooting, the new British film Swimming With Men, based on a true story about a group of male synchronised swimmers competing in the world championships. Stig Abell reports from the set at Basildon swimming pool, which was masquerading as Milan, the venue for the finals.Laura Wade, the playwright behind Posh and the stage adaption of Tipping the Velvet, discusses Home, I'm Darling, her new a play about a modern couple trying emulate the happy domesticity of the 1950s. With the announcement of the winner of the £100,000 Art Fund Museum of the Year 2018 later this evening, we have our final report from the five finalists. So far we've heard from Brooklands Museum in Weybridge, Glasgow Women's Library, The Postal Museum in London, and Tate St Ives. Tonight we visit Ferens Art Gallery in Hull, which was at the heart of Hull UK City of Culture last year.Filmmaker and writer Claude Lanzmann, famous for Shoah - his 1985 epic exploration of the Holocaust, has died. He's remembered by the writer and cultural critic Agnes Poirier.Presenter Stig Abell Producer Jerome Weatherald.

Winner of five Tony Awards, Fun Home is a ground-breaking new musical about a lesbian girl coming out, based on Alison Bechdel's autobiographical graphic novel. Briony Hanson reviews the UK premiere at London's Young Vic theatre.Remarkably, Fun Home is the first Broadway musical with a lesbian protagonist. But are queer women underrepresented in drama in general? Briony is joined by theatre director Hannah Hauer-King to discuss the visibility and portrayal of lesbian characters in theatre, film and TV. The latest novel by the prolific Caryl Phillips, A View of the Empire at Sunset, is a fictional account of the life of Jean Rhys, author of The Wide Sargasso Sea, who came from the West Indies to London in 1906 at the age of sixteen. Caryl Phillips discusses his fascination with Rhys, and how writing her life in this way allows him to observe the decline of the Empire.Ahead of the announcement next week of the winner of the £100,000 Art Fund Museum of the Year 2018, we'll be reporting from each of the five shortlisted museums. Today we hear from Tate St Ives, which originally opened in 1993, but which re-opened to the public last year after two-year architectural extension. Presenter: Kirsty Lang Producer: Kate Bullivant.

French director François Ozon discusses his latest film L'Amant Double, a psychological thriller in which a young woman falls in love with her secretive psychiatrist.Patrick Heron, the British artist and critic is celebrated in a new retrospective exhibition at Tate St Ives. Heron played a major role in the development of British post-war abstract art exploring the Cornish light and colour in the landscape surrounding his home. Curator Andrew Wilson and artist Susanna Heron, Patrick's daughter, join Samira. The acclaim for Rachel Kushner's novel The Flamethrowers brought her to a wide audience. Now she has written The Mars Room, the fictional account of a woman in a US prison with a double life sentence - plus 6 years. She describes getting access to the Californian prison system and the extraordinary stories she uncovered there.Presenter: Samira Ahmed Producer: Caroline Donne.

Stuart Charles Towner is a freelance multi-award winning garden designer and RHS consultant. This 2018 he will design his first garden on Main Avenue, Chelsea Flower Show 2018 - his first time to design at the prestigeous RHS event. On this episode of The Sodshow Garden Podcast Stuart and Peter Donegan chat everything from just how did you get here, nerves, never seeing a garden build being taken apart to Dolly Parton, spare time and escapism from a world of working on your lonesome for a love of horticulture. We also talk his upcoming garden and why one should only expect a gold. As a by the way, you can subscribe to The Sodshow Garden Podcast in spotify/ iTunes or any good podcast store – and get it direct to your phone or desktop computer. And, if you have a mo, a rate / review in iTunes would be just fan-tastic. Thanks for listening Xx  - www.sodshow.com  Twitter: @sodshow facebook: The Sodshow instagram: sodshow VTB Capital Garden - Spirit of Cornwall at RHS Chelsea Flower Show 2018 Following Stuart & Beth’s joint success with their last show garden they have since collaborated on several commercial projects. Spirit of Cornwall was jointly co-designed by them and the rest of the team with Stuart leading the project through to its inception. One of the Show Gardens to be unveiled at the Chelsea Flower Show in May this year will be The VTB Capital Garden – ‘Spirit of Cornwall’ – a unique creative collaboration not usually seen in the industry, bringing together garden designers, architects, a composer, musicians and a sculptor; all commissioned by VTB Capital, a leading international bank. Garden design is by multi award-winning garden designers Stuart Charles Towner & Bethany Williams, winners of Gold & Best in Show RHS Hampton 2015, in collaboration with a multi-award winning creative team of architects Studio Evans Lane, Constella OperaBallet & sculptor Sheila Vollmer. Sited on Chelsea’s Main Avenue ‘Spirit of Cornwall’ is a multi-sensory experience: inspired by the work of renowned British sculptor Barbara Hepworth; and music composed by Leo Geyer, Artistic Director Constella OperaBallet, specially commissioned by the Hepworth Estate and Tate St Ives to celebrate the 40th anniversary of Hepworth’s garden. Conceived as a garden for a sculptor and a composer, ‘Spirit of Cornwall’ is contemporary in style, the garden features a palette of subtropical and temperate plants, illustrating the unique microclimates found throughout Cornwall. Concrete and steel form the only hard landscaping elements in the garden. The metalwork that runs throughout the garden is a physical manifestation of the music, taken from the sound wave pattern, with its peak expressed by the garden pavilion, a space for composing and performing designed by awardwinning architectural practice, Studio Evans Lane. Water features echo the sea views from Hepworth’s garden. The continuous circulation of water reinforces the musical motif. Sculptures by International sculptor Sheila Vollmer nestle amongst the planting, drawing inspiration from the rhythms of the garden design, the music and her own practice style; sources such as Russian Constructivism. VTB Capital is proud to have commissioned the ‘Spirit of Cornwall’ garden and support its talented designers and artists at the RHS Chelsea Flower Show. Established in the City of London for almost 100 years, VTB Capital helps its investment banking and corporate clients grow their businesses and retail customers grow their savings. VTB Capital has carved out a reputation as a reliable business partner for clients from around the world. According to the league tables published by Dealogic, Bloomberg and Thomson Reuters, VTB Capital has consistently been one of the top three Investment Banks in the CEE since 2009. FB - Stuart Charles Towner Twitter - @StuartTowner Website - www.stuartcharlestowner.co.uk

American artist, Mark Dion has a new exhibition on in London: Theatre of the Natural World . Dion is exhilarated by the natural world but tells Anne McElvoy why his art is about how we classify it and what that says about us. Virginia Woolf: An Exhibition Inspired by her Writings opens at Tate St Ives so Anne McElvoy finds out how questions about colour perception and insect behaviour in turn inspired the writer. Literary scholars Claudia Tobin and Rachel Murray discuss. Evolutionary biologists, Menno Schiltuizen and Suzanne Williams, tell Anne about how colour and invertebrate studies in ecosystems old and new are refining our understanding of evolution. Mark Dion: Theatre of the Natural World at Whitechapel Gallery, London until May 13th Virginia Woolf: An Exhibition Inspired by Her Writings at Tate St Ives continues until April 29th. Menno Schiltuizen 'Darwin Comes to Town: How the Urban Jungle Drives Evolution' is out now. Suzanne Williams, Researcher and Head of Invertebrate Division, Natural History Museum, London. Claudia Tobin is a Leverhulme Early Career Fellow at the University of Cambridge Rachel Murray, School of Humanities, University of BristolPresenter: Anne McElvoy

In his latest film, The Meyerowitz Stories (New and Selected), Dustin Hoffman plays an old, bitter, self obsessed sculptor, whose children from several marriages nonetheless crave his approval. He and the director, Noah Baumbach, discuss grumpiness, fatherhood and the nature of success with Kirsty Lang.In St Ives the Tate is about to reopen with refurbished rooms rehung with wonderful work, by international artists - Rothko, Gabo, deKooning - and those working there who achieved such status - Hepworth, Lanyon, Wallis. The writer on art, Michael Bird, who lives in St Ives, follows the conversation between these works with the artistic director, Anne Barlow and curator Sara Matson. He has a preview, too, of Tate St Ives' beautiful new gallery, a feat of engineering years in the making. It is cut into the hill, yet still illuminated with the natural light of St Ives that drew artists there to begin with.Singer and multi-instrumentalist Jon Boden caused some consternation when he decided to leave Bellowhead, the 11 piece folk big-band that brought traditional music and sea shanties to Glastonbury, Later with Jools Holland and the London Palladium, and the group dissolved. He has just released a solo album, Afterglow. He performs live with a string trio and talks about this work which is very different from Bellowhead, a cycle of his own songs charting a fleeting romance in a ruined city. And Annette Bening has her say about Harvey Weinstein. Presenter: Kirsty Lang Producer: Julian May.

Nina Raine's new play Consent at London's National Theatre explores the tricky intertwining of modern relationships and legal niceties The life of American poet Emily Dickinson is dramatised in Terence Davies' new film A Quiet Passion. Does enough happen to make it dramatically interesting? Jon McGregor's newest novel Reservoir 13 looks at a community exploring the loss of one family, as life goes on for everyone else Tate St Ives is reopening after many months of closure for development. The first exhibition is The Studio and The Sea We look at a couple of car-based TV comedies; Peter Kaye in Car Share + Miriam Margolyes in Bucket And in the podcast, our guests reveal what they enjoy in the world of arts when they're not reviewing it for us Tom Sutcliffe's guests are Katie Puckrik, Alex Clark and Kevin Jackson. The producer is Oliver Jones.

With John Wilson. Wilko Johnson, one of Britain's most charismatic guitarists, has terminal cancer, with doctors suggesting that he has less than a year to live. As he prepares for farewell UK concerts in March, he reflects on how his diagnosis has made him feel "vividly alive". And, guitar in hand, he demonstrates the distinctive terse sound which powered the band Dr Feelgood in the 1970s, when they became one of the UK's most influential live acts. To mark the centenary of the birth of painter William Scott, the Tate St Ives is celebrating his life and art with an exhibition of his most important work. John talks to William Scott's son about his father's life and legacy, and how he influenced Rothko's decision to bequeath his paintings to the Tate. Henry James' classic horror story The Turn Of The Screw has been adapted by Benjamin Britten into an opera, produced as a ballet by William Tuckett, turned into a film starring Deborah Kerr and become several TV dramas. Now playwright Rebecca Lenkiewicz has created a stage version, co-produced by Hammer Theatre Of Horror - the company's first venture into theatre. Author Kate Saunders joins John to assess just how chilling this new incarnation is. Producer: Olivia Skinner.