Podcasts about Vanessa Bell

In this episode of the Leading You Podcast, I’m joined by Vanessa Belll, eco-entrepreneur, sustainability advocate, and former fashion model. Vanessa shares her inspiring journey from the world of high fashion to the heart of the Australian bush, where she now leads a purpose-driven business combining regenerative farming, ethical production, and sustainable fashion. Vanessa opens up about her love affair with Merino wool, the power of reinvention, and the mindset it takes to lead with purpose. We dive into her transition from modelling to farming, her commitment to creating luxury knitwear that respects people and the planet, and the legacy she’s building through courageous choices. If you’re curious about sustainable entrepreneurship, looking for motivation to pursue your passion, or simply love a story of bold transformation, this conversation will leave you inspired. Timestamps: 00:00 – Introduction and Monthly Reflection00:49 – Meet Vanessa Bell: Eco Entrepreneur01:25 – Vanessa's Journey from Fashion to Farming03:01 – Falling in Love with Wool07:23 – Building a Sustainable Business14:43 – Navigating Change and Reinvention20:39 – Resilience and Mindset in the Bush27:15 – Vanessa's Legacy and Final Thoughts32:41 – Conclusion and Call to Action Key Takeaways: What it takes to pivot your life and career with courage How Vanessa built a luxury sustainable brand from the ground up The leadership lessons behind living off the land Why Merino wool is a game-changer in ethical fashion The role of resilience and values in navigating change How to take bold action before you feel ready Resources Mentioned: You Always Have a ChoiceDownload the free Break Free from the Juggle workbook Connect with Vanessa:Instagram: @fashiontofarmer / @VanessaBellOfficialWebsite: www.vanessa-bell.comLinkedIn: https://www.linkedin.com/in/vjbell/Podcast: Fashion To Farmer Connect with Julie:LinkedIn: https://www.linkedin.com/in/julie-hyde/Instagram: @juliehydeleadsWebsite: https://juliehyde.com.au

Ugens Radio Information handler om Trump-regeringens udvisninger, om Netanyahus motiver for at genoptage angrebene i Gaza og om en ny kunstudstilling om skønhed som modstand mod krig og undertrykkelse --- 8. marts blev den tidligere studerende og pro-palæstinensiske Mahmoud Khalil hentet uden for sin dør i New York af agenter fra de amerikanske immigrationsmyndigheder og sat i detentionscenter med henblik på udvisning. Det på trods af, at han har Green Card, altså opholds- og arbejdstilladelse i USA, og på trods af, at der ingen kriminelle anklager er blevet rejst imod ham. Rune Lykkeberg udlægger sagen og dens perspektiver for ytringsfriheden i Trumps USA.  Khalil var sidste år et af ansigterne på de omfattende studenterprotester mod Israels fremfærd i Gaza. Og kritik af Israels krigsforbrydelser er der ikke blevet mindre brug for, efter at landet tidligt tirsdag morgen brød våbenhvilen med massive luftangreb og siden med operationer på landjorden i Gaza. Men hvad får Benjamin Netanyahu til at genoptage den – også i Israel – upopulære offensiv? Anton Geist udlægger den aktuelle situation. Men det skal også handle om skønheden i verden. På Nivågaards Malerisamling kan man nemlig lige nu se en udstilling med og om den engelske Bloomsbury-gruppe. Gruppen, der bl.a. talte medlemmer som forfatter E.M. Forster og Virginia Woolf, hendes søster, maleren Vanessa Bell, og økonomen John Maynard Keynes, var et kunstnerisk og intellektuelt kraftcenter i England i begyndelsen af 1900-tallet, som eksperimenterende søgte efter intet mindre, end at gøre hele livet til kunst. Vores kunstanmelder Maria Kjær Themsen havde lyst til at flytte ind i den aktuelle udstilling, men valgte heldigvis i stedet at komme ind og fortælle om den i vores studie.   Og så hæng på til slut, for her fortæller Lærke Cramon om den 25-årige Salma, som for tiden ugentligt skrive breve i Moderne Tider fra Damaskus. Om drømme og håb og hverdagen i Syrien efter Assad-regimets fald. Læs eller lyt til alle hendes breve HER.

Rencontre avec la poétesse Vanessa Bell à l'occasion de la publication de son livre, Fendre les eaux, Apprivoiser la baignade nordique, aux éditons de l'Homme.Un doux plongeon au cœur de la baignade en eau froide, cette pratique de plus en plus populaire !Vanessa Bell nous entraîne dans son sillage à la découverte d'une pratique vivifiante qui régénère notre rapport à l'hiver: la baignade nordique. Comment préparer son corps à la première immersion? Comment respirer sous l'effet du choc thermique? Quel équipement se procurer? Quels écueils et quels dangers peuvent survenir lorsqu'on fait le choix de plonger dans les rivières, les lacs et la mer tout au long de l'année? Guide pratique, journal de bord et fervent plaidoyer, cet ouvrage répond à toutes ces questions et révèle toute la beauté de ce sport, dit extrême, qui permet la rencontre, le partage, la passation, mais plus encore, la connexion à soi, à l'autre et à la nature. Découvrez à votre tour les bienfaits de la thérapie par l'eau froide et immergez-vous dans un tout nouveau sentiment de bien-être.Crédit photo : Alphiya Joncas Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Pourquoi se disputer avec nos frères et sœurs nous fait si mal, même à l'âge adulte ? Pourquoi est-ce si difficile d'en parler ? Peut-on vraiment purger de vieilles querelles fossilisées depuis l'âge où on s'envoyait les legos à la figure ? Y a-t-il des techniques pour recoller les morceaux à l'âge adulte ? Ou faut-il dégommer pour de bon l'injonction familialiste à bien s'entendre  ? Pour ce premier volet, Delphine Saltel est allée en Belgique, à Liège, consulter la psychologue clinicienne, Stéphanie Haxhe. Elle réunit dans son cabinet des frères et sœurs qui se font la tête depuis des années ou qui ne sont jamais arrivés à cracher ce qu'ils gardaient en travers de la gorge. Pour cette thérapeute, l'adelphie -le lien entre enfants issus de mêmes parents- est un impensé de la psychologie traditionnelle, obnubilée, depuis Freud, par la relation verticale parents-enfants. Elle invite chacun à mieux réfléchir à la richesse et la complexité de ce qui se joue dans les rapports horizontaux entre frères et sœurs, d'égal à égal. À quoi servent nos disputes ? Que construisons-nous dans la rivalité et l'agressivité ? Comment les blessures qu'elles nous causent peuvent venir infecter d'autres relations ou contaminer les générations suivantes ?  Peut-on les soigner ? Attention, cet épisode contient des séquences d'enlèvement d'animaux domestiques, de recel d'argent de poche et de coming out spoilé…Avec : - Stéphanie Haxhe, docteure en psychologie clinique et thérapeute de famille, auteure de Frères et sœurs, des liens à soigner, Ed. Érès, 2024.Bibliographie complémentaire :- Jane Dunn, Virginia Woolf et Vanessa Bell : une très intime conspiration, Ed. Autrement, 1990.Remerciements :Merci à Stéphanie Haxhe. Merci à Julien Léoni et aux élèves ayant participé à l'atelier. Merci à Alysée et Capucine.  Enregistrements janvier - février 2025 Réalisation Annabelle Brouard Accompagnement éditorial Mina Souchon Entretiens, prise de son et montage Delphine Saltel, Mina Souchon Illustration Yasmine Gateau Production ARTE Radio

I am so excited to say that my guest on the GWA Podcast is the writer, critic, and author, Merve Emre. Currently the Shapiro-Silverberg Professor of Creative Writing and Criticism at Wesleyan University – and the Director of the Shapiro Center for Creative Writing and Criticism – Emre is also the acclaimed and award-winning author of numerous books. These include Paraliterary: The Making of Bad Readers in Postwar America; The Personality Brokers (selected as one of the best books of 2018 by the New York Times, and others); The Ferrante Letters (winner of the 2021 PROSE award for literature). A holder of prizes in Literary Criticism, Emre is also a contributing writer to The New Yorker, where she has written extensively on art and literature, from Leonora Carrington to Susan Sontag. But! The reason why we are speaking to Emre today is because she is also an ardent expert on Virginia Woolf and the wider Bloomsbury Group, having authored the stunningly beautiful – and informative – The Annotated Mrs. Dalloway, a book that brings alive Woolf's life and words, and contextualises the radical and pioneering lives of those in the Bloomsbury Group in the most effervescent ways. So today on the podcast, we are going to be discussing the sisters at the centre of this movement: Vanessa Bell and Virginia Woolf, women who were born into a Victorian society in London but who broke free of all traditions, who formed languages, both artistic and literary, that paved the way of modernism and modernist thinking in the UK and beyond. We are going to be delving into their life and work: looking at how they informed each other and visualised or put into words the world from their distinct and radical perspectives. Merve's book: https://www.waterstones.com/book/the-annotated-mrs-dalloway/merve-emre/virginia-woolf/9781631496769 Charleston Trust: https://www.charleston.org.uk/?gad_source=1&gclid=Cj0KCQjw99e4BhDiARIsAISE7P857bJ_t36EZCN2JGBsJDUlVSxga42Bmq66SzIuCslkje6DXQsi94AaAmYZEALw_wcB Mrs Dalloway's Party: https://www.theguardian.com/books/2024/oct/05/discovered-a-lost-possible-inspiration-for-virginia-woolfs-mrs-dalloway -- 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

The acclaimed Spanish auteur Pedro Almodovor talks about this new film The Room Next Door, which won the top prize at the Venice Film Festival the Golden Lion and stars Tilda Swinton as a woman dying of cancer who enlists her friend Julianne Moore to help her end her life at a time of her choosing.The Bloomsbury Group of writers and thinkers that included the likes of Virginia Woolf, Clive Bell and John Maynard Keynes has enduring appeal, so as a new exhibition at the MK Gallery in Milton Keynes opens to explore the life and legacy of Vanessa Bell, Virginia's sister, her granddaughter the writer Virginia Nicholson and the show's curator Anthony Spira talk about what made this circle of lovers and friends so unique.Playwright Richard Bean had a smash in the West End with his smash hit farce One Man, Two Guvnors, starring James Corden. Now he talks about his new play Reykjavik which is now on at the Hampstead Theatre and explores the British fishing trawler industry, which like coal, was once a mass employer of men and had a terrible safety record. Presenter: Samira Ahmed Producer: Ruth Watts

Ciar Byrne has worked as a journalist for 25 years, usually as a gardening journalist, she's written for The Independent, The Guardian, Private Eye and many more. It turns out that all that experience, didn't make it easier to get published.Ciar wrote 6 books before she got a deal. When it eventually arrived, it came through the strange route of a random email after a Twitter Submission Window she'd entered half-heartedely. After waiting so long to get a contract, when she was finally offered one, what did she do? How did she immediately get to work to make her project the best it could be? We try and find out.The debut is 'A Deadly Discovery', which stars Virginia Woolf and her sister, Vanessa Bell, from the Bloomsbury Set, as a pair of unlikely amateur sleuths. It's set around the historic country town of Lewes, in the south of England, where Ciar lives, and incorporates murder, historic buildings, and a touch of gardening too.You can hear why she's had to slow down her writing to forget some journalistic practices, also the brilliant advice she's got about bad writing days, and why she likes to start early.This week's episode is sponsored by 'Peace Lilies: A Sweet Ghostly Novella' by Margaret Rodeheaver. It's all about Birdie and Martin who return froom vacation to discover they're dead. Get a copy here - books2read.com/peaceliliesSupport the show at patreon.com/writersroutine@writerspodwritersroutine.com Hosted on Acast. See acast.com/privacy for more information.

In this episode of Chatabout Children, Sonia Bestulic welcomes Vanessa Bell. Vanessa is a passionate advocate for Australian merino wool, sustainable fashion designer, and entrepreneur. In sharing her insights on this special Raising Empowered Children series, Vanessa discusses her journey from high fashion model to sustainable fashion designer, and her family's life on a farm. Empowering Moments Vanessa's strong connection to the land due to her family heritage. Raising her son, Charlie, in the countryside and the unique challenges and benefits of rural life.  The importance of trusting children and giving them space to explore and learn.  Encouraging children to take part in family traditions and sustainable practices. The importance of teaching children resilience and independence. Advocacy for merino wool and its benefits: fire-resistant, thermoregulating, and biodegradable. The impact of disposable fashion on the environment and how wool offers a sustainable alternative. Introduction of Vanessa Bell's knitwear collection incorporating sustainable practices and heritage designs.   Legacy and Tradition Vanessa's focus on creating generational pieces, such as heirloom baby blankets. The role of knitting in mindfulness and passing down skills through generations. Encouraging families to adopt sustainable practices and create lasting memories. The importance of choosing sustainable options, educating children on environmental issues, and creating a legacy through mindful living.   Future Ventures Announcement of Wilder Sanctuary: Partnership with WWF for wildlife conservation.   Connect with Vanessa Bell Learn more about Vanessa, her knitwear collection and advocacy work. Instagram: fashiontofarmerSee omnystudio.com/listener for privacy information.

‘Now You See Us: Women Artists in Britain 1520-1920' is an ambitious group show at TATE BRITAIN that charts the 400 year long journey that it took for women to become recognised as professional artists which paved the way for future generations and established what it meant to be a woman in the British art world.  On Tuesday 14 May 2024, at the Press View of the exhibition ‘Now You See Us:  Women Artists in Britain 1520-1920', RNIB Connect Radio's Toby Davey was joined by Tim Batchelor, Assistant Assistant Curator of the exhibition, to find out more about the 400 year journey that it took for women to become recognised as professional Artists along with an insight into the work of some of the 100 Women Artists featured in the exhibition. About the exhibition ‘Expressionists - Kandinsky, Münter And The Blue Rider' - The exhibition ‘Now You See Us: Women Artis in Britain 1520-1920' covers the period in which women were visibly working as professional artists, but went against societal expectations to do so. Featuring over 100 artists, the exhibition will celebrate well-known names such as Artemisia Gentileschi, Angelica Kauffman, Julia Margaret Cameron and Gwen John, alongside many others who are only now being rediscovered. Their careers were as varied as the works they produced: some prevailed over genres deemed suitable for women like watercolour landscapes and domestic scenes. Others dared to take on subjects dominated by men like battle scenes and the nude, or campaigned for equal access to training and membership of professional institutions. Tate Britain will showcase over 200 works, including oil painting, watercolour, pastel, sculpture, photography and ‘needlepainting' to tell the story of these trailblazing artists. ‘Now You See Us' begins at the Tudor court with Levina Teerlinc, many of whose miniatures will be brought together for the first time in four decades, and Esther Inglis, whose manuscripts contain Britain's earliest known self-portraits by a woman artist. The exhibition will then look to the 17th century. Focus will be given to one of art history's most celebrated women artists, Artemisia Gentileschi, who created major works in London at the court of Charles I, including the recently rediscovered Susannah and the Elders 1638-40, on loan from the Royal Collection for the very first time. The exhibition will also look to women such as Mary Beale, Joan Carlile and Maria Verelst who broke new ground as professional portrait painters in oil. In the 18th century, women artists took part in Britain's first public art exhibitions, including overlooked figures such as Katherine Read and Mary Black; the sculptor Anne Seymour Damer; and Margaret Sarah Carpenter, a leading figure in her day but little heard of now. The show will look at Angelica Kauffman and Mary Moser, the only women included among the Founder Members of the Royal Academy of Arts; it took 160 years for membership to be granted to another woman. Women artists of this era are often dismissed as amateurs pursuing ‘feminine' occupations like watercolour and flower painting, but many worked in these genres professionally: needlewoman Mary Linwood, whose gallery was a major tourist attraction; miniaturist Sarah Biffin, who painted with her mouth, having been born without arms and legs; and Augusta Withers, a botanical illustrator employed by the Horticultural Society. The Victorian period saw a vast expansion in public exhibition venues. Now You See Us will showcase major works by critically appraised artists of this period, including Elizabeth Thompson's monumental The Roll Call 1874 (Thompson's work prompted critic John Ruskin to retract his statement that “no women could paint”), and nudes by Henrietta Rae and Annie Swynnerton, which sparked both debate and celebration.  The exhibition will also look at women's connection to activism, including Florence Claxton's satirical ‘Woman's Work': A Medley 1861 which will be on public display for the first time since it was painted; and an exploration of the life of Barbara Leigh Smith Bodichon, an early member of the Society of Female Artists who is credited with the campaign for women to be admitted to the Royal Academy Schools. On show will be the student work of women finally admitted to art schools, as well as their petitions for equal access to life drawing classes. With the exhibition ending in the early 20th century with women's suffrage and the First World War. Women artists like Gwen John, Vanessa Bell and Helen Saunders played an important role in the emergence of modernism, abstraction and vorticism, but others, such as Anna Airy, who also worked as a war artist, continued to excel in conventional traditions. The final artists in the show, Laura Knight and Ethel Walker, offer powerful examples of ambitious, independent, confident professionals who achieved critical acclaim and finally membership of the Royal Academy. ‘Now You See Us - Women Artists in Britain 1520-1920' continues at TATE BRITAIN until 13  October 2024.  Description tours are available for blind and partially sighted people but need to be booked in advance via hello@tate.org.uk or on 020 7887 8888. More details about ‘Now You See Us:  Women Artists in Britain 1520 - 1920' at Tate Britain can be found by visiting the following pages of the Tate website- https://www.tate.org.uk/whats-on/tate-britain/women-artists-in-britain-1520-1920 Image shows: Gwen John, Self-Portrait, 1902. Photo Tate (Mark Heathcote and Samuel Cole), a painting of a white woman wearing a red blouse and a broach with her hair light brown tied up against a dark brown background.

We talk to The Art Newspaper's reporter Sarvy Geranpayeh about her conversations with six Palestinian artists about their daily lives amid Israel's ongoing military offensive in Gaza. Frank Stella, one of the key artists in the history of American abstraction, has died, aged 87. We speak to Bonnie Clearwater, the director and chief curator of the NSU Art Museum in Fort Lauderdale, Florida, who worked with Stella on two landmark shows. And as Spring finally arrives in London, this episode's Work of the Week is, fittingly, Vanessa Bell's View into a Garden (1926). It features in an exhibition opening next week at the Garden Museum in London, called Gardening Bohemia: Bloomsbury Women Outdoors. Emma House, the curator at the museum, tells me more.Glory of the World: Color Field Painting (1950s to 1983), NSU Art Museum Fort Lauderdale, US, until 25 August. Frank Stella: Recent Sculpture, Deitch Projects, New York, until 24 May.Gardening Bohemia: Bloomsbury Women Outdoors, Garden Museum, London, 15 May-29 September. Hosted on Acast. See acast.com/privacy for more information.

Kit Kemp is an interior designer, the founder and creative director of Kit Kemp Design Studio and Firmdale Hotels. She's known for championing British art and craft and for her colourful, eclectic and much-imitated style.   The plaque she has chosen is at 46 Gordon Square, Bloomsbury and reads: "Vanessa Bell 1879-1961 Duncan Grant 1885-1978 artists lived and worked here". They were artists, but they were also linchpins of the group of intellectuals, writers and artists known as the Bloomsbury Set. We discussed the relationship between Bell and Grant, their place in the Bloomsbury Set and their creative partnership.   The Blue Plaque Pod is brought to you by Kassia St. Clair, author, cultural historian and commemorative plaque fancier. I would love to know what you think, whether you have a favourite plaque, or if there's someone you think would make a great guest. Get in touch at blueplaquepod.com. 

                                                             Welcome To Hotel BohemiaEccentric. Rebellious. Amoral, quite often. But bohemianism was, maybe still is, about much more than just frightening the horses.The writer Virginia Nicholson recently told the Today programme that "in a sense, we are all bohemians today".But what is a bohemian, how do you spot one, and might you be a boho, too?"Bohemian" was originally a term with pejorative undertones given to Roma gypsies, commonly believed by the French to have originated in Bohemia, in central Europe.The Oxford English Dictionary's definition mentions someone "especially an artist, literary man, or actor, who leads a free, vagabond, or irregular life, not being particular as to the society he frequents, and despising conventionalities generally".But the connotation rapidly became a romantic one. From its birth in Paris in the 1850s, and the huge success of Murgier's play Scenes de la vie de Boheme, the ethic spread rapidly.Gypsy clothes became all the fashion, sparking a style which lives on today through lovers of boho-chic like Sienna Miller and Kate Moss. And artists and poets from Baudelaire to van Gogh characterised bohemian ideals.Its foundations in the Romantic movement of the 19th Century imbued bohemians with an almost quasi-religious sense of purpose.In Puccini's opera La Boheme, the poet Rodolfo and his friends do not shiver in their Parisian garret where Mimi's hand is famously frozen merely because of their poverty. Theirs, as Rodolfo has it, is a higher, if more sensual, calling.I am a poet!What's my employment? Writing.Is that a living? Hardly.I've wit though wealth be wanting,Ladies of rank and fashionAll inspire me with passion;In dreams and fond illusions,Or castles in the air,Richer is none on earth than I.Although steeped in its French roots, the bohemian ideal transferred easily to many countries and cultures.In Britain, the pre-Raphaelite Brotherhood and the aesthetic movement of the 19th Century imbued bohemianism with a dangerous, dashing, social cachet. Later, the exploits of the Bloomsbury group - one of whom was Nicholson's grandmother, Vanessa Bell - thrust it into the cultural limelight.Across the Atlantic, poets and writers like Jack Kerouac, William S Burroughs and Paul Bowles led their own offshoot. And the playwright Arthur Miller's prose conjures the musty essence of that temple of American bohemia, Manhattan's Chelsea Hotel, where "there are no vacuum cleaners, no rules and shame"."Everyone has a view of what the bohemian is," says Nicholson. "The bohemian is an outsider, defines themselves as an outsider and is defined by the world as an outsider... A lot of people regard them as subversive, elitist and possibly just a little bit immature."Bohemians were typically urban, liberal in outlook, but with few visible political passions and, above all, creative. Though critical of organised religion, they were keen - witness the pre-Raphaelites and Oscar Wilde - to defend and explore the religious spirit.Above all, they defied the constrictions of hearth and home and the false morality which they believed underpinned it.In essence, bohemianism represented a personal, cultural and social reaction to the bourgeois life. And, once the latter was all but swept away by the maelstrom that was the 1960s, the former was doomed, too.UNTIL NOW!!!!&a

In this episode, Karina interviews the excellent Kabe Wilson, an artist and scholar who has recently been artist in residence at the University of Sussex. They discuss his long relationship with Woolf's work and go in search of a lighthouse with some strange connections between his own paintings to those of Vanessa Bell. Kabe is known in the Woolf community for his imaginative interventions in Woolf's writing. His many projects on Woolf include: Of One Woman or So, The Dreadlock Hoax, and On Being Still. His work has recently been chosen to illustrate the Norton Critical Edition of To the Lighthouse .To learn more about Literature Cambridge, go to https://www.literaturecambridge.co.uk or follow them on:Twitter @LitCamband Instagram: @litcamb

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

Chiara Alessi"Oilà"Electa Editorewww.electa.itLa nuova collana OILÀ, curata da Chiara Alessi per Electa con il progetto grafico a cura dello Studio Sonnoli, presenta le storie di protagoniste del Novecento, figure femminili che nel panorama ‘creativo' italiano e internazionale (dal design alla moda, dall'architettura alla musica, dall'illustrazione alla grafica, dalla fotografia alla letteratura) si sono distinte in rapporto a discipline e mestieri ritenuti da sempre appannaggio dell'universo maschile.Il giocoso titolo della collana, OILÀ, riprende una celebre strofa della canzone popolare socialista La lega, poi entrata nel repertorio delle mondine:"Sebben che siamo donne paura non abbiamo, abbiamo delle belle e buone lingue e ben ci difendiamo. A oilì oilì oilà e la lega la crescerà".I primi tre titoli usciti in contemporanea, sono dedicati a Elsa Schiaparelli, Lisetta Carmi e Vanessa Bell, curati rispettivamente da Rossella Locatelli, Anna Toscano e Luca Scarlini: tre ‘progettiste', tre caratteri, tre storie, tre maniere singolari, ciascuna diversa, che hanno trasformato il modo di intendere l'arte e il design, la fotografia e la moda e hanno contribuito all'emancipazione sociale e artistica femminile. Storie che si svolgono attraversando guerre, sfollamenti, rivoluzioni sociali e che si fanno spazio in un mondo e in un mestiere che non era considerato adatto alle donne.Quindi sono usciti anche i titoli dedicati ad Anna Castelli Ferrieri e Lica Covo Steiner di Chiara Alessi e Lora Lamm di Olimpia Zagnoli.Chiara AlessiVorrei far vedere una strada che va all'infinito. Lica Covo SteinerIl carattere collettivo, la sorellanza, la partecipazione all'iniziativa non di alcune creature eccezionali, ma di molte, Lica lo abita dai tempi della Resistenza. Qui cresce la sua prospettiva femminista, che abiterà per tutta la vita. Con un'etica forte e uno spirito lieve nel lavoro, nella vita, nelle amicizie e nella politica. E un corpo, una bellezza, un apparire a cui Lica preferirà sempre l'essere, il domandare e il fare.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/show/tracce-di-il-posto-delle-parole_1/support.Questo show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

We talk with Harvard Professor Marjorie Garber about how modernist writers of London's Bloomsbury Group made Shakespeare their own. Garber's most recent book—her twentieth—is Shakespeare in Bloomsbury. In it, she traces the influence of Shakespeare on the members of the Bloomsbury Group, that circle of early 20th-century intellectuals included novelists Virginia Woolf and E.M. Forster, painter Vanessa Bell, director Dadie Rylands, critic and biographer Lytton Strachey, economist John Maynard Keynes, and others. She tells Barbara Bogaev about the threads of Shakespeare that run through Woolf's novels, how Lytton Strachey changed our perspective on Shakespeare's late plays, and what got her interested in the Bloomsbury Group in the first place. Marjorie Garber is the William R. Kenan, Jr. Professor of English and Visual and Environmental Studies at Harvard University. Shakespeare in Bloomsbury is available from Yale University Press. Garber is the inaugural Scholar in Residence of Washington, DC's Shakespeare Everywhere Festival, happening across the city this fall. Join Garber in-person for five free public lectures through November 16. Learn more at shakespeareeverywheredc.com.

Bonus episode: Writer and novelist Jamaica Kincaid redefined garden writing with books such as My Garden (Book) and Among Flowers, as well as changing perspectives on the post-colonial experience through titles such as A Small Place and Lucy. We meet the Antiguan-American author in the halls of Charleston House, Sussex, where Bloomsbury Group artists Vanessa Bell and Duncan Grant made art, a home, and a life-long relationship. In a quiet moment away from Charleston's Festival of the Garden, Jamaica tells us about how gardening sits alongside her writing practice, how she converses with her plants and what they teach her about mortality.  This podcast is inspired by my book, Why Women Grow: Stories of Soil, Sisterhood and Survival, which is available from all good book shops.   The Why Women Grow podcast is produced by Holly Fisher, and theme music is by Maria Chiara Argiro. Thank you to Canongate and Uprooting, by Marchelle Farrell, for supporting this episode. We are grateful to our hosts at Charleston House and to Hollie Fernandes for her beautiful photographs of Jamaica Kincaid taken there. 

In this episode, I speak with Vanessa Bell, a successful entrepreneur and advocate for sustainability, known for her expertise in the fashion and agricultural industries. Vanessa started her career as a model, gracing the pages of high-end fashion publications and walking the runway for top-tier designers. However, her true passion lies in farming and sustainable fashion. Vanessa owns close to 118,000 acres of pristine land in Australia and is one of the few women in the world with a landholding more than twice the size of Paris. Vanessa has invested in the future by expanding her collection of hand-knitted Australian Merino wool baby knitwear to include luxury women's knitwear produced in Italy, all made from traceable and ethically farmed Australian Merino yarn. The Vanessa Bell brand promotes sustainability by using naturally occurring, renewable, and biodegradable Australian Merino wool and is committed to reducing microplastic pollution in the environment and inspiring future generations to make environmentally conscious decisions. Vanessa works closely with The Woolmark Company (AWI) and is a member of the Australian Fashion Council. In 2022, she was appointed as an Advisor to the Board of Ag Tech company Zondii, where she focuses on provenance and authentication for wool. Beyond fashion, Vanessa is committed to a large-scale mixed farming enterprise (including organic wheat) with active strategies to become a certified biodiversity and carbon farmer. Vanessa is a true visionary, demonstrating intuition, resilience, courage, and integrity. I enjoyed every minute of this dynamic, inspiring chat with Vanessa and no doubt you will too. You can find Vanessa Bell at:  Website Instagram  _________ INDIA SOURCING EXPERIENCE TRIP - EXPRESSIONS OF INTEREST | MARCH 11th - 15th 2024 Don't miss this opportunity to experience a transformational business experience into the sophisticated world of production, sourcing and supply; meet with garment and fabric manufacturers; travel with like-minded business owners and mentors and connect with world-class artisans and manufacturers expressing the very best of India's vibrant fashion culture. EXPRESS YOUR INTEREST HERE.  _______ READY TO SCALE UP? Ready to level up to a new phase of growth and expansion? Elizabeth founded fashion consultancy Fashion Equipped in 2012 to expand the reach and potential of the Australian industry. Backed by decades of experience in all aspects of the business, and passionate about entrepreneurship, growth and the power of community, Elizabeth delivers fashion consulting, mentorship and online learning to hundreds of businesses and counting. From buying, product development, sales and sourcing, to strategic planning, marketing and team management, our expert line-up of industry insiders are committed to sharing their knowledge, networks and passion - to empower you to build a thriving fashion business. Elizabeth's next availability for consulting is October 2023. Feel free to reach out to her directly at elizabeth@fashionequipped.com.au.  Consulting is suited to brands that are already trading and ready to work on their strategic growth plans.  READY TO START UP? Ready to bring your vision to life and start your fashion business? ONLINE LEARNING We've crafted our decades of experience into an online fashion business syllabus informed by and tailored to the real world. Start Your Fashion Business is an industry-first online learning platform and a dynamic and engaged community. If you are a start-up who wants to make the Fashion Business your Business – then head to our website and watch the replay of our last Info Session & QA. Our ‘Start Your Fashion Business' programme is open online, so if you would like to join our community jump straight in! MENTORSHIP   It takes finely tuned business skills to make it in fashion, but mindset also plays a huge role. This is why mentorship is an essential ingredient to success – few can guide you on this path better than those who've already walked it and our deeply experienced mentors are here to help you navigate the business while building a strong mindset.  If you want to work 1:1 with a Mentor and kickstart your biz development, you can head to Your Mentor Collective – book a 1 hour of power session with one of our amazing industry Mentors - that's where the magic happens! MINI COURSES If you're up for a Mini-Course, check out our Start and Scale Studio on our Fashion Equipped website and explore Start your Sourcing Strategy, Start-up Cost Analysis, and Tech Pack Development. You can find Fashion Equipped over at: Instagram: @fashionequipped @startyourfashionbusiness_au Podcast Insta: @fashionbusinessmindset Facebook: www.facebook.com/fashionequipped Website: www.fashionequipped.com.au Let's do this together, let's make The Fashion Business, YOUR Business!See omnystudio.com/listener for privacy information.

Durante il viaggio con Vanessa e Clive del 1908, Virginia fa tappa anche a Milano. Una città in fermento e brulicante di novità che negli anni precedenti ha visto nascere le prime società di produzione cinematografica, ha accolto l'Esposizione internazionale al Parco Sempione e lo spettacolo di Buffalo Bill all'Arena, ha inaugurato il Castello Sforzesco appena restaurato, la Torre del Filarete e la porta centrale del Duomo. E dall'hotel Manin di questa Milano "che sale" (come la definirà Boccioni qualche anno dopo) Virginia scrive lettere anche molto divertenti che ci riportano alla mente la geniale Beffa della Dreadnought, che vide Virginia trasformarsi in un… dignitario abissino al cospetto della Royal Navy! Consigli di lettura:Per approfondire il rapporto tra Virginia e i suoi nipoti, Vanessa Bell, Duncan Grant e Clive Bell, due letture bellissime sono:l'autobiografia di Angelica Garnett, "Ingannata con dolcezza. Un'infanzia a Bloomsbury", La Tartaruga.la biografia di Virginia scritta da Quentin Bell, “Virginia Woolf, mia zia”, La Tartaruga.Aggiunta a latere: apparentemente potrebbe sembrare un consiglio di lettura assurdo, eppure la prima volta che mi sono imbattuta nella beffa di Dreadnought non ho potuto che pensare a "La Novella del Grasso Legnaiuolo", che racconta una delle beffe più famose della storia (datata 1409) con protagonista lo stesso Brunelleschi. La mia edizione è quella, deliziosa e curatissima, di Garzanti.

Tra i tanti viaggi in Italia di Virginia Stephen, quello in terre senesi si fa denso di colori e descrizoni "umane". È il 1908 e Virginia è in compagnia della sorella Vanessa e del marito di lei, Clive Bell. Il misticismo e la passionalità della fede cattolica son molto diversi dalla severità quasi militaresca delle funzioni anglicane e colpiscono la scrittrice al pari dei tramonti infuocati. Ma sono soprattutto le persone, quelle comuni e non quelle più altezzose, che conquistano Virginia e trovano spazio tra le sue pagine. Come la donna con gli occhi azzurri che Virginia incontra nel 1933, sempre in terre senesi, assieme a un gruppetto che ha voglia di chiacchiere: “E ci siamo strette la mano: le sue erano sporche di terra e non voleva darmele; ma tutti ci siamo stretti la mano e avrei voluto andare a casa sua, nel più incantevole dei paesaggi”.Consigli di lettura:Il libro che la Woolf legge durante il suo viaggio senese del 1908 è "Due sulla torre" di Thomas Hardy.Le pagine di diario cui facciamo riferimento in questo episodio si possono leggere in V. Woolf, "Diario di una scrittrice", Minimum Fax.La biografia di Vanessa Bell che più di ogni altra caldeggio è F. Spalding, "Vanessa Bell. Portrait of the Bloombsury Artist", Tauris."In Viaggio con Virginia" è il podcast del progetto "My Travelling Library". Ideato e raccontato da Luana Solla.

How can a physical space impact an artist's work? Danielle travels to Charleston, that famous home in the rolling Sussex hills of South East England, which was home to the Bloomsbury Set during the First and Second World Wars  and which still attracts fans of the works of Virginia Woolf, her sister Vanessa Bell their friends who stayed there, and which continues to be held up as a beacon of artistic and sexual freedom. This summer, the  space plays host  to an exhibition of the artists George and Betty Woodman, a husband and wife team of artists, who, although not contemporaneous with the Bloomsbury Group (Betty lived from 1930 - 2018 and George from  1932 - 2017) nonetheless share in the ideal of embracing  a life filled with creativity in a home away from the hustle and bustle of the city - in George and Betty's case, leaving New York for their farmhouse in Antella, just outside of Florence in Italy.  To discuss Betty and George, and the impact of their surroundings in which they worked, as well as their daughter, the late photographer Francesca Woodman, Danielle speaks to Lissa McClure, Executive Director of the Woodman Family Foundation, and Emily Hill, Acting Head of Exhibitions at Charleston. Further reading:Charleston for more about Virginia Woolf, Vanessa Bell and the wider Bloomsbury Group.  The Woodman Family Foundation for more information about Betty Woodman, George Woodman and their daughter, the photographer Francesca Woodman. To contact In Talks With host Danielle Radojcin with comments and suggestions, please head to https://www.instagram.com/danielleradojcin/https://www.linkedin.com/in/danielleradojcin/

We pick out the best of the summer's festivals, including Byline  Festival, Charleston's Festival of the Garden, Cheltenham Music Festival, Henley Festival and The Idler Festival. Jo Bausor, who's been at the helm of Henley Festival for over a decade, tells us about the impressive line-up at Britain's only boutique black tie festival. Acts performing include Boney M, Nile Rodgers & Chic, Rag n'Bone Man and Westlife.  There's a fabulous line-up of comedians too, like Jo Brand, Marcus Brigstocke, Jack Dee and Adam Kay.  Expect floating stages, fine riverside dining and fireworks and much more besides. Political journalist, Otto English, tells us about the Byline Festival in collaboration with Dartington Trust. Taking place at Dartington Hall in Devon, the festival aims to change the world with its big, challenging ideas and is guaranteed to spark controversy and robust debate.   Speakers include Lord Victor Adebowale, Dawn Butler MP, Bonnie Greer, Rosie Holt, George Monbiot and Peter Oborne. Finally, Harry Hoblyn, head gardener gives us the lowdown on the Festival of the Garden at Charleston, rural retreat of the Bloomsbury set and famously home to Duncan Grant and Vanessa Bell.  Celebrating communities who care about plants and the land, the festival will include butterfly walks and garden tours.  Speakers include Isabel Bannerman, Edmund de Waal, Jake Fiennes and the Antiguan-American novelist, Jamaica Kincaid. Byline Festival, 14th to 16th July, Dartington Hall, Totnes, Devon Charleston Festival of the Garden, 13th to 16th July, Charleston, East Sussex Cheltenham Music Festival:  8th to 15th July, around Cheltenham Henley Festival:  5th to 9th July, around Henley The Idler Festival : 7th to 9th July, Fenton House, Hampstead, London

This is the first of two episodes created to celebrate 100yrs since the day on which Mrs Dalloway is set. This episode focuses on a mysterious painting by Vanessa Bell and explores its possible connection to Mrs Dalloway. Karina speaks with the painting's owner, Howard Ginsberg, and the bestselling author of Bloomsbury Pie, Regina Marler in order to think about paintings and parties in 1920s Bloomsbury. With thanks to Howard Ginsberg for his permission to use an image of the artwork. To learn more about Literature Cambridge, go to https://www.literaturecambridge.co.uk or follow them on:Twitter @LitCamband Instagram: @litcamb

Name: Flora Reading: Looking to Sea, Lily Le Brun Why did you want to read this? I chose to read Looking to Sea because it is a thoughtful, insightful reflection on 100 years of modern art in Britain, written by the brilliant Lily Le Brun. As the daughter of an artist and a painter myself, the work of many of the artists in this book is intrinsic to the fabric of who I am. Le Brun's exploration of the practices and pieces of Vanessa Bell to Bridget Riley provides an insight into more than just the why or how of their art; Le Brun captures the very essences of the artists themselves. How did you record yourself? On my laptop in bed/on the sofa with my cat curled up beside me.

Sally does her washing on the narrowboat, and with spring in the air, her thoughts turn to the past. She reads from an old favourite, the children's classic novel, The Wind in the Willows, and discusses its characters and themes with her friend from next door, Maeve Magnus, who is reading it for the first time and sees close parallels between the book and their own lives on the river. Sally recalls her fierce search for meaning and direction of her university days, and how she plunged into the writings of the American scholar Camille Paglia; then she reads an illuminating passage written by a former student, the writer, art critic and academic, Rebecca Birrell. Sally ends by reflecting on her desire for privacy and space, and the adoption of literary and artistic personae, reaching back to the masks worn by actors in ancient Greece. The Wind in the Willows is a children's novel by the Scottish novelist Kenneth Grahame, first published in 1908. It details the story of Mole, Ratty, and Badger as they try to help the excitable, impetuous, swaggering, but hapless Mr Toad. The novel was based on bedtime stories which Grahame, a successful banker and financier, told his seven-year-old son. The book's impressionistic descriptions of the English countryside and its mythic search for moments of grace have made it an enduring read for adults as well as children; while the setting of the book partly drew on the author's experiences of living beside the River Thames, south of Oxford - not too far from where Sally and Maeve now live. Grahame died in 1932 and lies buried in Oxford's Holywell Cemetery. Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson, which Sally read avidly at university, is a 1990 book about sexual decadence in Western literature and the visual arts by scholar Camille Paglia. The novel draws on the conflicts of Greek drama and demonstrates their continued relevance in its comprehensive study of Western art and literature, from Botticelli and Leonardo daVinci to Shakespeare, Goethe, Coleridge, Emily Brontë and Oscar Wilde. This Dark Country: Women Artists, Still Life and Intimacy in the Early Twentieth Century by Dr Rebecca Birrell is published by Bloomsbury Circus. It is both biography and art critcism of 10 female artists, including Dora Carrington, Vanessa Bell and Gwen John. It was the Guardian Art Book of the Year and shortlisted for a number of other prestigious awards. The producer of the podcast is Andrew Smith: https://www.fleetingyearfilms.com The extra voice in this episode is Emma Fielding. Thanks to everyone who has supported us so far. Special thanks go to Violet Henderson, Kris Dyer, and Maeve Magnus. If you would like to support us, please visit - https://gofund.me/d5bef397

Dans son 3e roman "Double V" (ed. Actes Sud), l'écrivaine française Laura Ulonati explore, par le regard de la soeur aînée, peintre méconnue, la relation entre Vanessa Bell et Virginia Woolf. L'autrice est au micro de Nicolas Julliard.

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Vanessa Bell. 

Historiquement Vôtre réunit 3 dames qui sont Bell, Bell, Bel... comme le jour - et surtout comme leur nom l'indique : Gertrude Bell, une "reine du désert" sans couronne, une aventurière des temps anciens devenue espionne pour les services secrets britanniques dans les plaines arabiques. Puis la peintre Vanessa Bell, l'une des premières artistes anglaises à avoir eu une exposition à son nom et la sœur d'une certaine Virginia Woolf avec qui elle n'ont pas eu que l'art en commun ! Et une comédienne passée de la “Minute Blonde” à “Qu'est-ce qu'on a fait au Bon Dieu ?” en explosant le box-office, heureusement sans se faire mal : Frédérique Bel.

Historiquement Vôtre réunit 3 dames qui sont Bell, Bell, Bel... comme le jour - et surtout comme leur nom l'indique : Gertrude Bell, une "reine du désert" sans couronne, une aventurière des temps anciens devenue espionne pour les services secrets britanniques dans les plaines arabiques. Puis la peintre Vanessa Bell, l'une des premières artistes anglaises à avoir eu une exposition à son nom et la sœur d'une certaine Virginia Woolf avec qui elle n'ont pas eu que l'art en commun ! Et une comédienne passée de la “Minute Blonde” à “Qu'est-ce qu'on a fait au Bon Dieu ?” en explosant le box-office, heureusement sans se faire mal : Frédérique Bel.

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, Vanessa Bell. 

It's another installment of More Than A Muse Monster month!  Today we're talking about the woman behind arguably the most famous gothic monster ever created, Mary Shelley, the author of Frankenstein, which also happens to be the first science fiction novel ever written, AND the first monster story. Mary Shelley was a true goth icon with many spooky life events perfect for October including - losing her virginity on her mother's grave, writing Frankenstein late at night at Lord Bryon's house from a ghost story challenge, and even keeping her husband's calcified heart in the drawer of her writing desk. We discuss her early feminist education, her controversial family relationships, the fact that we might start a Percey Shelley hate club, and much more. You won't regret learning about this woman, we guarantee you'll be just as fascinated as us by every aspect of her life.Episodes Like This One: Virginia Woolfe and Vanessa Bell, 19th Century Gothic Horror Authors, Jane Austen, Shirley Jackson, Pearl Lenore Curran, Follow us on Instagram @morethanamuse.podcast

In this episode of the Powerful Stories podcast, I sit down with Vanessa Bell, who you might know from her Instagram account as Fashion to Farmer. I first met Vanessa on a virtual coffee date during lockdown a couple of years ago and have been so impressed with her story of transformation, from a successful career in fashion as a model to land guardian and one of the largest female landowners in Australia.    Vanessa is passionate about supporting the environment by reducing landfill and microplastic pollution, and she decided to leverage the relationships she'd formed over decades to inspire a new generation to consider using wool. She is currently about to take her brand global, so watch this space.   We talk about how women can rise like a phoenix after being burnt to the ashes, rising back up to meet ourselves and become the women we are today. Vanessa shares how she focuses on self-care, saying she believes we need to nurture ourselves first and foremost.   I believe that life is about synchronicities and opportunities; and passing on the gifts we've been given through lived experience, and Vanessa really embraces this in her own life. I hope you love her story as much as I do.    Much love,   Tory xox   [1:09] Vanessa shares her beginnings in the backstreets of Kings Cross in Sydney, when she approached an industry figure after a friend's mum suggested she might be a good fit for modelling. She spent her twenties travelling and modelling, returning to Australia to work in finance and then media, before meeting her husband and becoming a farmer.    [2:41] Vanessa found her career purpose when she embraced and owned her story.    [4:31] When we first met, Vanessa was avoiding stepping forward and telling her story due to a fear of judgement. She began to understand we all have our own unique power, and for her, understanding the power of community and connection and leaning into a group of women that saw her, supported her and wanted the best for her gave her a sense of freedom to become who she is. Her journey through my Powerful Steps program gave her a newfound sense of vitality and creativity and today, Vanessa wants to use the contacts she's forged through fashion to drive global change.   [7:10] When Vanessa first joined Powerful Steps, I asked her who would be the ultimate person she'd like to partner her brand with, and she replied, ‘Victoria Beckham'. Then, when she simply asked, magic began to unfold. Vanessa is in the process of launching her first capsule range of women's knitwear in collaboration with a contact from Victoria's team.   [12:32] Vanessa talks about life on the land, living on a cattle station on the mid-north coast of NSW, which is the largest landholding on the Eastern seaboard. She shares that synchronicity with nature is a healer for her, and mentions carbon farming and other projects she works on in addition to her core business.   [12:51] Vanessa opens up about the importance of getting back to our core, and overcoming negative narratives from the past. She believes we all have the capacity to change, and that it's important to embrace change and learning, while leaning into the community for support.    [14:44] We discuss the daily inner rituals Vanessa uses to maintain inner balance while being a wife, mum and business owner and entrepreneur driving impact, including grounding, deep breathing, gratitude, and being clear about her intentions at the beginning of the morning. She says self-care is not an indulgence, it's a discipline.    [18:09] Vanessa talks about a traumatic life experience in 2007 after which she went partially blind in her left eye for six months, and how this led her to realise we have choices and capacity for growth and change in our lives. Since this experience, Vanessa has been passionate about bringing vibrancy to the world. Life on the farm teaches her about animals' capacity for love, and understanding that we're all part of this source.    [20:03] Vanessa discusses her plans to launch her capsule collection and share the message about choosing wool, reducing landfill and microplastics at a global level.   [20:56] She says that to stay in your power, you need to get back to the core of who you are, and you have a choice to ‘either cut to the core or rot to the core'. Vanessa recommends focusing on mindfulness, which she does through knitting, lawn-mowing and self-care.    Want to know more about Vanessa?  Website: www.vanessa-bell.com Instagram: @fashiontofarmer LinkedIn: Vanessa Bell     Are you ready to take a powerful step forward in business and in life? You can join Tory's dynamic community of top female entrepreneurs by signing up to the Powerful Steps Coffee Challenge (it's free!): https://powerful-steps.com/coffee-challenge/.   You can also connect with Tory Archbold and her offerings, including corporate keynote speaking, business mentoring and the popular Business Attraction Program, here: Instagram: @powerfulsteps LinkedIn: Powerful Steps by Tory Archbold YouTube: Powerful Steps – YouTube Business Attraction Program: click hereSee omnystudio.com/listener for privacy information.

Step back in time with us as Kate visits Charleston home of Vanessa Bell and important gathering place for the members of the Bloomsbury Group, that collection of writers and artists including Virginia Woolf that coalesced around Gordon Square in London. Undaunted by the ghosts of her relatives Nino Strachey, author of a new book, Young Bloomsbury, joins us to discuss the up-and-coming younger generation, such as writer Julia Strachey, sculptor Stephen Tomlin and photographer Cecil Beaton, who followed in their footsteps. Nino considers the interplay of creative inspiration that flowed between the generations, but also the spirit of tolerance and acceptance of different gender identities and chosen families that allowed these young creatives to flourish. Leave us a comment on our The Book Club Review website, where you'll also find more information on all the books mentioned, a transcript and our comments forum. Let us know your thoughts on the episode, or a Bloomsbury Group book that you love.  Follow us between episodes for regular reviews and book recommendations on Instagram @bookclubreviewpodcast, or on Twitter @bookclubrvwpod. Find Nino on Twitter or Instagram @NinoStrachey. Book recommendations Lytton Strachey by Michael Holroyd (Penguin) Eminent Victorians by Lytton Strachey Cheerful Weather for the Wedding by Julia Strachey Love Letters: Vita and Virginia (Penguin) Orlando by Virginia Woolf (Penguin) L.O.T.E. by Sheila von Reinhold (Jaracanda) All Passion Spent by Vita Sackville West (Penguin), which we talked about on episode 12. The Waves and To The Lighthouse by Virginia Woolf (Penguin) Sissinghurst: The Creation of a Garden by Sarah Raven A Boy at the Hogarth Press by Richard Kennedy (Slightly Foxed) Vile Bodies by Evelyn Waugh (Penguin) A Moveable Feast by Ernest Hemingway (Penguin) Mrs Hemingway by Naomi Wood (Picador) The Paris Wife by Paula McLain (Virago)

Dee and Carol talk about plant obsessions, hot peppers, and more on this week's episode.Link to our Substack newsletter with more information about this week's episode. Be sure and subscribe to get the newsletter directly in your email inbox!Some links: Rose Chat podcast about the Rose Geek.  Some of the roses Dee mentioned:Pomponella Fairy Tale, Benjamin Britten, Vanessa Bell, Mother of Pearl Americal Hort Society list of plant societies.    What is a Scoville Unit? First We Feast on YouTube to see people eating hot wings. Top 10 Hottest Peppers In The World [2022 Update]On the Bookshelf: New Wild Garden: Natural-Style planting and practicalities, by Ian Hodgson (Amazon link)    All America Selections, which we love for their plant recommendations.Carol's blog post on her new Lego Orchid. Agastache 'Blue Fortune' how to pronounce by the Missouri Botanical Garden staff Dirt:   Discovery of a new giant waterlily, Uncovering the giant waterlily: A botanical wonder of the world | Kew  Affiliate link to Botanical Interest Seeds. (If you buy something from them after using this link, we earn a small commission at no cost to you. This helps us continue to bring this podcast to you ad-free!)  Book links are also affiliate links.Email us at TheGardenangelists@gmail.com  For more info on Carol and her books, visit her website.  Visit her blog May Dreams Gardens.For more info on Dee and her book, visit her website.  Visit her blog Red Dirt Ramblings.Don't forget to sign up for our newsletters, via our websites!

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Karina talks with Prof Susan Sellers about her newest novel, Firebird, which documents the extraordinary life of ballerina and Bloomsbury icon, Lydia Lopokova. You can find a review of Firebird on the Literature Cambridge website.Susan is an academic, writer, and translator. She the author of Vanessa and Virginia, a novel that gives a fictionalised account of the relationship between Virginia Woolf and Vanessa Bell. The work was adapted into a stage play by Elizabeth Wright. You can find an episode all about the novel in this series of the VW podcast. To learn more about Literature Cambridge, go to https://www.literaturecambridge.co.uk or follow them on:Twitter @LitCamband Instagram: @litcamb

In this episode Karina chats with Prof Susan Sellers about her novel, Vanessa and Virginia, which explores the fascinating relationship between Virginia Woolf and her sister, the artist Vanessa Bell. Susan is Professor of English and Related Literature at the University of St Andrews, where she teaches modernist and contemporary literature and creative writing. She won the Canongate Prize for Short Story Writing and her first novel, Vanessa and Virginia, has been translated into 16 languages and was adapted for the stage. To learn more about Literature Cambridge, go to https://www.literaturecambridge.co.uk or follow them on:Twitter @LitCamband Instagram: @litcamb

Georgina Godwin visits Charleston, the former home of artists Vanessa Bell and Duncan Grant, which was a retreat for the historic Bloomsbury group as well as a gathering place for some of the 20th century's most radical artists, writers and thinkers. Today it is run by the Charleston Trust and continues to be a focal point for writers, who gather annually for the Charleston Literary Festival.

Georgina Godwin visits Charleston, the former home of artists Vanessa Bell and Duncan Grant, which was a retreat for the historic Bloomsbury group as well as a gathering place for some of the 20th century's most radical artists, writers and thinkers. Today it is run by the Charleston Trust and continues to be a focal point for writers, who gather annually for the Charleston Literary Festival. See omnystudio.com/listener for privacy information.

“Bella en la adolescencia, llegó bruscamente el instante – por ejemplo, en el río, bajo los bosques de Clievenden – en que, en méritos de una contracción de este frío espíritu, Clarissa había frustrado a Richard. Y después en Constantinopla, y una y otra vez. Clarisa sabía qué era lo que le faltaba. No era belleza, no era inteligencia. Era algo central y penetrante; algo cálido que alteraba superficies y estremecía el frío contacto de hombre y mujer; o de mujeres juntas….” Fragmento de “La señora Dalloway” de Virginia Woolf Una de las novelistas inglesas que de un tiempo a esta parte ha suscitado mayor cantidad de estudios es Virginia Woolf. En pocos años todo parece haberse dicho acerca de la formación de su personalidad en el seno de una familia de holgada economía y de prestigio intelectual sobrado; de su particular sensibilidad, inseparable de su desarrollo como escritora; y de su inestabilidad mental que la condujo a la muerte. De los ingentes comentarios se desprende claramente que el amor al oficio de las letras se encontraba latente en Virginia Woolf cuando de pequeña buscaba libros en la biblioteca de su casa para satisfacer su voracidad lectora. La autora nació en 1.882 en Hyde Park Gate, Kensington, Londres. Fue la tercera de los hijos de Sir Leslie Stephen, editor de “The Dictionary of National Biography” - diccionario biográfico en lengua inglesa, publicado por primera vez entre 1.885 y 1.901, que consta de sesenta y tres volúmenes y en el que aparecen en orden alfabético la biografía de eminentes personalidades que vivieron en el Reino Unido -, y de Julia Duckworth, mujer subordinada a los dictámenes del esposo y al cuidado de sus hijos. Alguno de los rasgos de ambos, como el sarcasmo del padre y la sensibilidad de la madre, serán plasmados en la novela “Al faro” por los señores Ramsay. La débil salud de Virginia la obligó a apartarse de las usuales actividades de las niñas de su edad ya permanecer en casa leyendo todo lo que encontraba allí. La muerte de su madre en 1.895 puso a flote los síntomas del desequilibrio nervioso que Virginia Woolf guardaba en el fondo de su mente. Más adelante el esfuerzo de escribir la sumía en un estado de excitación aguda. La escritora no pudo soportar la vorágine de una nueva guerra, la II Guerra Mundial; ella que en 1.928 había dicho con optimismo: A su castigado cerebro vino a sumarse la fuerte impresión que le causó la muerte de su sobrino, combatiente en el bando republicano en la Guerra Civil española. Luego vendría el bombardeo de su casa londinense. Y en el último acceso de locura, que la hizo pensar en un decaimiento irreversible, Virginia Woolf decidió ahogarse en el río Ouse, la mañana del viernes veintiocho de marzo de 1.941, después de que dejara una nota de despedida a su esposo, que tanto la había cuidado. En 1.912 Virginia Stephen se había casado con el historiador y sociólogo Leonard Woolf. Juntos fundaron la editorial Hogarth Press, que publicó obras de vanguardia. Su casa del barrio londinense de Bloomsbury mantuvo un cenáculo literario y artístico conocido como el y del que ella fue partícipe destacada. Los asistentes a estas reuniones compartían gustos similares y unas creencias comunes en torno a lo que debía ser el arte además de charlar sobre cualquier tema, por muy trivial que fuese. Algunos habían pertenecido a la Sociedad que con propósitos parecidos había constituido un grupo de avanzados estudiantes en la Universidad de Cambridge a principios de siglo. Una de las asiduas a Bloomsbury fue Vanessa Bell, hermana de Virginia, quién ha descrito los primeros años del grupo en los siguientes términos: En el volumen autobiográfico “Beginning again” (Empezando de nuevo), Leonard Woolf incluye en el a los hermanos Vanessa, Virginia y Adrian Stephen; Lytton Strachey, Clive Bell, Leonard Woolf, John Maynard Keynes, Duncan Grant, E.M. Foster, Saxon Sydney y Desmond y Molly MacCarthy.No hay duda de que las pautas de comportamiento del grupo no encajaban con las imperantes en aquellos momentos. Eran todos ellos y ellas de una intelectualidad exquisita, escépticos, anti religiosos, enemigos de las usanzas sociales heredadas del victorianismo; cultivaban las relaciones sexuales con franqueza y entera libertad, y algunos se autoconsideraban de izquierdas. Sin embargo, no existió entre sus participantes una decidida intención de agruparse en o artístico. Aun así, aquellas conversaciones hasta las tantas de la noche conformaron la vida y la obra de Virginia Woolf. Sus dos primeras novelas, “Viaje de ida” de 1.915 y “Noche y día” de 1.917, deben mucho a los cauces de la narrativa tradicional, es decir, la modelación de los personajes sujeta a la influencia de una ordenada serie de acontecimientos. Pero a partir de 1.919, la autora empezó seriamente a reflexionar sobre cómo hacer una novelística libre de andamiajes cronológicos, sin intrigas argumentales y sin comedias ni tragedias que contar. Es interesante resaltar que por esas fechas ya había leído a James Joice y Dorothy Richardson. A ese mismo año, 1.919, corresponde su ensayo “La ficción moderna” en donde expresa: . El resultado inmediato de indagar precisamente tras > fue “El cuarto de Jacob”, escrita en 1.922, que anticipa logros posteriores. Se trata de una recolección de reflexiones por parte de varios personajes que revelan la personalidad del protagonista Jacob Flanders: desde su infancia y juventud hasta su prematura muerte en la Primera Guerra Mundial. La acción de “La señora Dalloway”, la gran novela de Virginia Woolf escrita en 1.925, transcurre dentro de los límites de un sólo día, comenzando cuando la esposa de un miembro del Parlamento se dispone a ultimar los detalles para una importante fiesta. La anfitriona, recorriendo las calles londinenses, rememora unos acontecimientos que creía olvidados. La asociación mental se activa en sus misteriosos mecanismos y las inesperadas impresiones se suceden. A intervalos y entre los recuerdos se oyen las campanas del que anuncian a la señora Dalloway la realidad del presente, osea, sus inmediatos quehaceres. Los sonidos, los colores y los más nimios detalles se acumulan con vívida presencia en “Al faro” de 1.927. Abren la primera página de esta historia los Ramsay, reunidos en la casona que poseen cerca del mar. A excepción del padre, el resto de la familia sueña con ir a la isla del faro que se divisa tras las ventanas. Las condiciones atmosféricas del atardecer aconsejan el aplazamiento de la excursión tal como lo previera el señor Ramsay. Bajo este intrascendente motivo aparece un tema profundo: el tiempo, que en su irreversible fluir todo lo altera. Si la primera parte de la novela capta las alegrías de un verano lleno de proyectos, la segunda se ocupa de la pospuesta visita con un interludio de diez años. Semejante lapso de tiempo indica que ya nada es igual: la casa ha perdido el esplendor de antaño, la muerte se ha llevado a varios de sus moradores, las ilusiones se han desvanecido. Y, llegados por fin los visitantes a su destino, ¿qué ocurre? Aquel lugar imaginado años antes como una maravillosa y excitante meta no es en realidad más que una decepcionante conclusión: > A esta novela, estimada por muchos como la mejor de Virginia Woolf, le siguió “Orlando”, escrita en 1.928. La trama de esta peculiar fantasía se extiende a lo largo de cuatro siglos. Su protagonista es un aristócrata dotado de una longevidad sin límites y una facultad que le permite transformarse en mujer. Pero como se lee en un momento de la obra: Sus dos últimas novelas, menos conseguidas que las anteriores, fueron “Los años” de 1.937, y “Entreacto” de 1.941. Compuso Virginia Woolf numerosos artículos para el suplemento literario del periódico Times, posteriormente reunidos bajo el título de “El lector común” (1.925-1.932). En “Una habitación propia” de 1.929, la autora plantea los problemas que salen al encuentro de las escritoras, partiendo del punto que a ella le parecía fundamental: >. Considerada como una de las escritoras referentes del modernismo vanguardista del siglo XX y del movimiento feminista, a Virginia Woolf le tocó vivir en un mundo de hombres. En su casa se respiraba arte, política y un ambiente tan liberal como complejo. A pesar de esto, fueron sus hermanos varones los únicos que pudieron estudiar en la universidad. A los trece años, Virginia sufrió un duro golpe: su madre murió repentinamente. Este hecho provocó en ella su primera crisis depresiva. A esto se unió, dos años más tarde la muerte de su hermana Stella. Pero esto no fue lo único por lo que tuvo que pasar. En una obra autobiográfica la autora desliza que tuvo que soportar abusos sexuales por parte de dos de sus hermanastros y que a raíz de ello jamás pudo dejar de sentir desconfianza hacia los hombres. Al fallecer su padre, en 1.905 y cuando tenía 22 años ya se había intentado suicidar. No lo consiguió pero sufrió una fuerte crisis nerviosa por la que tuvo que ser ingresada durante un tiempo. Hoy en día se considera que Virgina Woolf padeció un trastorno bipolar con fases depresivas severas. Los trastornos más graves que padeció, ya casada, los sufriría entre los año 1.913 y 1.915; Virginia llegó a ingerir cien gramos de veronal, en otro intento por quitarse la vida. En 1.923 conoció a la también escritora Vita Sackville-West, con la que mantuvo una relación amorosa. Vita también estaba casada y aunque la relación entre ellas acabó sin que se separasen de sus respectivos maridos, la amistad entre ambas mujeres se mantendría durante el resto de sus vidas. En el marco de la Operación León Marino, por la cual el ejército nazi iba a invadir Gran Bretaña, Hitler redactó una lista negra en la que se encontraban los nombres de autores tan carismáticos como Aldous Huxley, H.G. Wells y la propia Virginia Woolf. Ella ignoraba que existiera tal lista, pero en el caso de que Alemania acabara invadiendo el país, el matrimonio sabía que tarde o temprano los nazis irían a por ellos, puesto que Virginia era una renombrada intelectual y su esposo Leonard era judío. Llegado el caso, la pareja tenía planeado suicidarse en su garaje aspirando los gases del tubo de escape de su vehículo. Además, Leonard guardaba bajo llave un frasco con una dosis letal de morfina que le había proporcionado Adrián, el hermano psiquiatra de Virginia, por si se complicaban las cosas. Virginia Woolf se veía reflejada en los personajes de sus obras, que rezuman angustia y escepticismo, y en los cuales la idea del suicidio y el miedo a la gente son recurrentes. Le aterraba la soledad, era muy autocrítica y se sentía invadida a menudo por un sentimiento de culpa. También sufría terribles dolores de cabeza e insomnio. Algunos médicos que la trataron, atribuyeron a la escritura sus problemas de salud y algunos le recomendaron incluso que lo dejara, ya que los brotes más fuertes que sufría, que en su diario ella definía como “la ola” y “el horror”, se producían tras el gran esfuerzo que le suponía escribir. A pesar de ello, la escritura fue la tabla de salvación de Virgina Woolf ante el naufragio de su existencia. Pero el 28 de Marzo de 1.941, incapaz de hacer frente a la desesperación que la envolvía, se puso el abrigo, llenó los bolsillos de piedras y se adentró en el rio Ouse dejándose llevar por la corriente. Antes de tomar esa trágica decisión, escribió dos cartas, una para su hermana Vanessa y otra para su marido, las dos personas más importantes de su vida. En su carta de despedida de su querido esposo no sólo se percibe su padecimiento, tristeza y profundo dolor, sino también la gratitud y el gran amor que sentía hacia él. Su cuerpo fue encontrado tres semanas después. Virginia Woolf creía que era necesario que cada vez hubiera más mujeres que escribieran, e incluso llega a hacer una apología de las diferencias entre sexos; dejó escrito:

Today is a special treat because I am interviewing Vanessa Bell who is a true Adventurer and rural pioneer entrepreneur. Vanessa's career as an international model, morphing to financial services and then a founding role in a leading media company, collided with love when she met her husband, Philip Bell a 4th generation grazier .  Now splitting her time between 3 properties of Greendale, Wirchilleba and Moothumbil with a family history of over 100 years at Greendale in the Southern Tablelands of NSW. Vanessa has launched her Sarah Jane Baby Bond bespoke baby blanket brand, as well as being an expert on self care and her new course Knitting for Mindfulness I believe is just what a locked in world needs right now.  In this episode Vanessa reveals: - The common factor and motivation through her numerous successful careers in fashion, business and now agriculture and her Sarah Jane Bond brand; - The incredible properties of Merino wool and why every baby needs a Merino wool blanket for their health; - How knitting is actually just as if not more effective as meditation for your health: And so much more! Married to the Land Podcast - Vanessa Bell Part 1 https://podcasts.apple.com/au/podcast/married-to-the-land-vanessa-bell-part-1/id1530484692?i=1000528234986 Sarah Jane Bond www.sarahjanebond.com Instagram @sarahjanebondbabyblankets   Knitting For Mindfulness https://info.knittingmindfulness.com/ Instagram @knitting_for_mindfulness   Vanessa's e-book “Self-Care Craft” https://sales.knittingmindfulness.com/scc-book-sales-page-2102061612566072319   Life In An Australian Shearing Shed This video is called ‘Merino The Team', part of the Fashion To Farmer series.   https://vimeo.com/588199462

TERcets is a literary podcast by The Ekphrastic Review. Listen to your host, Brian Salmons, read three pieces selected from our website, ekphrastic.net. This episode features works by Margo Davis, Hedy Habra, and Patricia Goodwin. https://www.hedyhabra.com https://www.press53.com/poetry-collections/under-brushstrokes-by-hedy-habra http://patriciagoodwin.com The Ekphrastic Review is an online journal devoted entirely to writing inspired by visual art. Our objective is to promote ekphrastic writing and art appreciation, and to experience how the two strengthen each other and bring enrichment to every facet of life. We want to inspire more ekphrastic writing and promote the best in ekphrasis far and wide. Intro/outro from music by Judadi (on SoundCloud @judadi). Interludes from The Units ("Cannibals"), Joe Meek ("Piano Instrumental"), and Alec K. Redfearn & the Eyesores ("Dashboard Lazarus"). The episode art is "The Tub" by Vanessa Bell (1917).

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

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Virginia Woolf, Between the Acts, A Room of One's Own, Three Guineas, Mrs Dalloway, To the LighthouseLeonard WoolfVita Sackville-WestHogarth Press, Two Stories, Hyde Park Gate News, Bloosmbury Group, Vanessa Bell, Clive BellLeslie Stephen, Julia JacksonT.S ElliotDora Carrington Michael Cunningham, The HoursUshttps://twitter.com/thebibliodailythebibliophiledailypodcast@gmail.comRoxiehttps://www.youtube.com/channel/UCyAfdi8Qagiiu8uYaop7Qvwhttp://www.chaoticbibliophile.comhttp://instagram.com/chaoticbibliophilehttps://twitter.com/NewAllegroBeat

As he celebrates his 80th birthday, photographer Joel Meyerowitz looks back at his career which is the focus of his new book of photos, Where I Find Myself. It features his early work as a street photographer in New York in the '60s, his images of Ground Zero immediately after the 9/11 attacks, and his most recent still lifes in Tuscany. In a unique commission to open the 2018 Charleston Festival, novelist Ali Smith will be performing a piece of creative prose inspired by the Famous Women Dinner Service, a work of 50 ceramic plates featuring the portraits of historical female figures, produced by Vanessa Bell and Duncan Grant in 1932. Kirsty discusses the significance and the artistry of the dinner service with Ali Smith, Darren Clarke, curator at Charleston, and art dealer Robert Travers.The Girl on the Train, the psychological thriller by Paula Hawkins, became an overnight bestseller and was later adapted into a film starring Emily Blunt as the troubled Rachel who wakes up with a hangover and an uneasy feeling she's seen something she shouldn't have seen. Now it has been adapted for the stage and opens at the West Yorkshire Playhouse in Leeds with Jill Halfpenny as Rachel. Theatre Critic Nick Ahad has been to see it. As Hugh Grant stars as the disgraced MP Jeremy Thorpe in the BBC drama A Very English Scandal, TV critic Emma Bullimore charts the evolution of Hugh Grant's career, from romcoms to recent darker roles. Presenter Kirsty Lang Producer Jerome Weatherald.

Ang Lee's latest film, Billy Lynn's Long Halftime Walk, stars British actor Joe Alwyn as 19-year-old private Billy Lynn, who is caught on camera saving a comrade and, after the video goes viral on YouTube, becomes a pin-up for the war in Iraq. Through a sequence of flashbacks the realities of the war are revealed in contrast with the public's distorted perceptions of heroism. Kirsty talks to Ben Fountain, the novelist on whose book the film is based, and Joe Alwyn who was offered the part whilst still in drama school.Widely acclaimed as a central figure of the Bloomsbury Group, the modernist painter, Vanessa Bell (1879-1961) was a pivotal player in 20th century British art, but her reputation as an artist has long been overshadowed by her family life and romantic entanglements. Dulwich Picture Gallery in London seeks to rectify that with the first major solo exhibition of her work. Its curator, Sarah Milroy, shows Kirsty around.To mark the centenary of the Russian Revolution, Front Row has asked figures from the arts world to select the art work, inspired by the events of 1917, they most admire. Tonight writer, comedian and lifelong Russophile, Viv Groskop selects a poem by Anna Akhmatova.We remember sitcom writer Alan Simpson who has died at the age of 87. As one half of writing duo Galton and Simpson, the pair created sitcoms including Hancock's Half Hour and Steptoe and Son.Presenter: Kirsty Lang Producer: Edwina Pitman.

Let us supposethat this everyday worldwere at some one pointinvaded by the marvelous.1According to an article in the Harvard Business Review, such an event“requires a distinctive mode of organization—what sociologists call an art world. In art worlds, artists (musicians, filmmakers, writers, designers, cartoonists, and so on) gather in inspired collaborations: They work together, learn from one another, play off ideas, and push one another. The collective efforts of participants in these ‘scenes' often generate major creative breakthroughs… the mass-culture industries (film, television, print media, fashion) thrived by pilfering and repurposing their innovations.” 2 Today we're going to look at three different art worlds and then I'm going to suggest that you create your own.Art World One: Although the works of the individuals that composed The Bloomsbury Group (1905 – 1937) profoundly influenced literature, economics and aesthetics in western society and altered modern attitudes towards feminism, pacifism, and sexuality, this highly diverse group had no real agenda other than enjoying one another's company. The group had ten core members and twenty occasionals. A few of the more well-known core members were Virginia Woolf, a fiction writer, Lytton Strachey, a biographer, John Maynard Keynes, the economist, and Vanessa Bell, a post-impressionist painter. The Bloomsbury Group was an art world, not a mastermind group. A mastermind group is focused on finding business solutions. An art world exists only to enjoy one another's company. Art World Two: “Oh God, no more Elves!” Hugo Dyson groans in agony, lolling on the couch. J.R.R. “Tollers” Tolkien is about read from his work-in-progress, The Lord of the Rings. “It's bad enough listening to Lewis read about Narnia!” Hugo Dyson prefers the works of Shakespeare and in the early 1960s hosted some televised lectures and plays about him. Dyson's relaxed, easy style won him accolades around the world. The Inklings were a group of ten interesting people who met at The Eagle and Child pub from 1932 to 1949. In the end, each of the ten left their mark on the world, high and bright. The Inklings didn't get together because they were important. They became important because they got together. Art World Three: It all began when Lauren Bacall looked at a group of friends sitting around her living room and said, “You look like a goddam Rat Pack.” Did you know that Dean Martin, Sammy Davis, Jr., Peter Lawford and Joey Bishop weren't in the original Rat Pack? The first Pack was a group who got together each week in the home of Lauren Bacall and her husband, Humphrey Bogart. The Rat Pack included Bogart and Bacall, Frank Sinatra, Judy Garland, Katharine Hepburn, David Niven, Spencer Tracy, Cary Grant, Rex Harrison, Sid Luft and Swifty Lazar. Visiting members included Errol Flynn, Nat King Cole, Mickey Rooney, Jerry Lewis and Cesar Romero. The group broke up when Bogart died in 1957. Shortly thereafter, Sinatra began his famous “Rat Pack 2.0” The Rat Pack was an art world. They got together only because they enjoyed being together. They did not expect an outcome or a result. You cannot participate in an art world if you have an agenda.You've got to be a Worthless Bastard.Q: Why are you calling obviously successful people Worthless Bastards? A: Because the conversations of an art world must never revolve around problem solving or the creation of value or “worth.” Q: Why is it important that the group NOT try to create value? A: The key that unlocks an art world is play. Perfectly relaxed, undiluted play unleashes the creative powers of the mind. You don't experience the life-changing benefits of an art world during your get-together, but because you got together. Q: Is this idea of “creating no value” really...

In a specially recorded edition of Start the Week Andrew Marr is at the Charleston Festival with Grayson Perry, Virginia Nicholson, Faramerz Dabhoiwala and Janice Galloway. As the home of Vanessa Bell, Virginia Nicholson's grandmother, Charleston was a by-word for sexual freedom and the Bohemian lifestyle. But Dabhoiwala insists that far from the 1920s being the time of real sexual revolution, that honour goes to the 18th century, the origin of our modern attitudes to sex. Janice Galloway brings the story up-to-date as she relives her adolescence in small town Scotland in the 1970s. And the celebrated potter Grayson Perry explores changing social attitudes in relation to taste: the choices people make in the things they buy and wear, and uses these details of modern life to create six tapestries, called 'The Vanity of Small Differences'. Producer: Katy Hickman.