Podcasts about White Cube

Leben am und auf dem Wasser: Mit dem White Cube Hausboot, dass in Berlin direkt an der Havel liegt, hat sich Susann Meise einen Kindheitstraum erfüllt. Ihre Großeltern waren Binnenschiffer und Susann ist als Kind bereits im Laufstall mit ihnen durch Deutschland geschippert. Baby on boat, im wahrsten Sinne des Wortes. Heute führt Susann Meise als Co-CEO die Lampenfirma Occhio, die ihr Mann Axel Meise 1999 in München gegründet ist und deren Head-Designer er bis heute ist. Susann Meise erzählt, wie sie zu ihrer ungewöhnlichen Immobilien gekommen ist, warum das Boot nicht bewegt wird, wie sie mit den Berlinern warm geworden ist und welche Leuchte von Occhio wie ein Bullaugen anmutet und deshalb (neben einigen anderen Modellen) perfekt auf das Boot passt.Das White Cube ist übrigens für alle da: Wenn Susann oder ihre Familie nicht gerade selber auf dem Boot sind, kann es für Events gemietet werden. Der Anleger heißt übrigens Alte Liebe und ist genauso charmant, wie er klingt. Wer sich einen ersten Eindruck verschaffen will: Ganz in der Nähe des White Cube liegt das Restaurantschiff Alte Liebe — früher als Lastenschute im Einsatz, ist der Kahn heute ein Restaurant, serviert wird Berliner Hausmannskost. https://www.whitecubecharter.com/https://alte-liebe-berlin.de/Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

The internationally acclaimed and hugely influential artist Theaster Gates was born, raised and works in Chicago. He trained as a ceramicist, and still makes pottery, but it's just one part of a diverse artistic output that also includes painting, sculpture and vast installations, in works which often explore the black experience in contemporary America. He is best known for redeveloping derelict buildings for community projects, using art to transform run-down neighbourhoods of his city. A recipient of the prestigious Artes Mundi Prize, Gates is a professor at the University of Chicago and received the French government's prestigious Légion d'Honneur. Theaster Gates is part of the creative team behind the Barack Obama Presidential Centre currently under construction in Chicago. In 2022 he created the annual Serpentine Pavilion in London, a piece called Black Chapel which was conceived as a monument to his father. His most recent exhibition is 1965: Malcolm in Winter: A Translation Exercise at White Cube gallery.Theaster Gates tells John Wilson about the influence of his family upbringing. The youngest of nine siblings, and the only boy, he recalls assisting his father as he worked as a roofer. Later, when he was an established artist, and having inherited his father's tools and tar kettle, Theaster began to make paintings using hot bitumen in tribute to his father's labour. He also explains how, as a high achieving pupil, he was 'bussed' to a predominantly white school far from his home neighbourhood, and benefited from cultural opportunities that he may not have received otherwise. He also chooses the experience of spending a year in Japan learning ancient pottery techniques, and beginning his practise as a ceramicist. Producer Edwina Pitman

This episode we are thrilled to be joined by the artist Jessica Rankin. Born in Sydney in 1971, Jessica is known for her vibrant and expansive exploration of the processes of memory, intuition, and interpretation.  For the first part of her career, Jessica produced textile works that adopted methods historically identified with feminine pursuits—embroidery and needlework. She created works featuring 'mental maps' that combined word and image to highlight her ongoing project: a hybrid weaving of personal, fictional and historical voices. In 2016, Jessica turned exclusively to painting, combining gestural abstraction with the sewn mark on raw canvas. These works often take their inspiration from the literature of marginalised voices: of women writers, gay writers or writers of colour. They have included lines of poetry by writers who have inspired Jessica's work, such as Etel Adnan, Paul Celan, and Carl Phillips. Throughout, Jessica has continued to adopt John Cage's adage to ‘be unfamiliar to yourself,” creating a rich and compelling practice that spans multiple media. Jessica has been the subject of numerous solo and group exhibitions including the Palazzo Grassi in Venice, the Whitworth Art Gallery, Manchester, UK, and MoMA PS1 here in New York. Last year, she had a solo show at White Cube in Hong Kong. Jessica is represented by White Cube. https://www.whitecube.com/artists/jessica-rankin Some artists and writers discussed in this episode: David Hammons Coco Fusco Martha Rosler Glenn Ligon Virginia Woolf Olivia Laing Julie Mehretu Lawrence Chua Paul Pfeiffer

In this week's episode, Han is joined by Emilie Faure. Emilie is the founder and CEO of Juniver, an award-winning health company that's transforming the way we approach eating disorders. Juniver is the first digital therapeutic of its kind, providing on-demand 24/7 support through an app including a personalised, AI-powered recovery coach.Juniver's mission to improve access to effective help for people with eating disorders, is deeply personal to Emilie, born from her own recovery journey, which highlighted the gaps in traditional care.Before founding Juniver, Emilie's career spanned sales strategy and partnerships at organisations like White Cube gallery and Sotheby's; she brings a wealth of experience scaling teams and leading with empathy.This week, we discuss:Emilie's inspiration for starting Juniver and the services Juniver provides to people struggling with eating disorders and disordered eating.The technology behind the digital therapy solution, Juniver.The two pillars of recovery: managing an urge differently and eating enough for your bodies needs.Navigating urges when you're alone and how Juniver supports this in an unbias way.The keys to habit formation in recovery: start small, build on what you're doing already, experiment and tweak, celebrate success.Tips for navigating the festive season during eating disorder recovery including boundaries, planning and meeting yourself with compassion.To learn more about Juniver, you can visit her website at www.joinjuniver.com or download the Juniver App on the App Store: https://apps.apple.com/us/app/juniver/id1637450809.To access the discount mentioned in the episode, use code JUNIFOB.Connect with Juniver by following them on Instagram @joinjuniver and TikTok @joinjuniver.com.Please note that this podcast explores topics some individuals may find difficult to hear and should not be used as a replacement for professional advice. If you need further support after this podcast, please consider talking to someone you trust. You may also wish to reach out to your GP or mental health professional.We've included a list of additional support options in case you need them:Samaritans are here for whatever you are going through. You can call free any time, from any phone, on 116 123.FirstSteps Eating Disorders is an eating disorders charity for children and their families, young people, and adults affected by eating difficulties and disorders. You can call them on or email info@firststepsed.co.uk.Beat Eating Disorders is an eating disorder charity offering support for those with or supporting someone with an eating disorder. You can call their helpline for free on 0808 801 0677 (England), 0808 801 0432 (Scotland), 0808 801 0433 (Wales), 0808 801 0434 (Northern Ireland).

Episode 69 of ‘All About Art': The White Pube: Discussing ‘Poor Artists' & Why The Art World Needs To Change - with Gabrielle de la Puente and Zarina Muhammad  In this episode, I sat down with Gabrielle de la Puente and Zarina Muhammad, the co-founders of The White Pube, a platform launched in 2015 where they share reviews, essays, social media posts and memes critiquing the elitism and inaccessibility of the art world. The name the duo chose, The White Pube, is a play on the White Cube, a globally successful mega contemporary art gallery. It is also a tongue-in-cheek reference to the display format in which contemporary works of art are generally shown. Pristine white walls, wood or concrete floors, high ceilings… space of veneration or quiet contemplation, sterile where nothing other than “the art experience” can happen. The provocative name has even deeper layers when considering the references to white supremacy and ageism within the arts, as well - so listen on to hear me speak to Gabrielle and Zarina more about that later in the episode.  We chat about how they got started as an art critic duo, and how they have been working together and successfully collaborating for nearly a decade - having never had ONE fight (well, in this interview you will hear Zarina say that they did have a fight once… but it was about art). I also got the pleasure of speaking to Gabrielle and Zarina about their recently published debut book called ‘Poor Artists', in which an aspiring artist has to navigate money and power, and is faced with the decision of whether she cares more about success or staying true to herself. I ask Zarina and Gabrielle to delve into their writing process as co-authors, and to tell me more about what the experience was like to conduct interviews and weave them into the narrative, as the book integrates anonymous interviews with real people in the art world into its story. We touch on how writing the book has impacted their view on the arts sector, what the future holds for the White Pube, and so much more.  Thank you Gabrielle and Zarina, a.k.a. The White Pube, for coming on the podcast!  You can check out The White Pube: https://thewhitepube.co.uk/ and you can purchase Poor Artists here: https://www.penguin.co.uk/books/455873/poor-artists-by-pube-gabrielle-de-la-puente-and-zarina-muhammad-aka-the-white/9780241633762 YOU CAN SUPPORT ALL ABOUT ART ON PATREON HERE: ⁠https://www.patreon.com/allaboutart⁠ FOLLOW ALL ABOUT ART ON INSTAGRAM HERE: ⁠https://www.instagram.com/allaboutartpodcast/⁠  ABOUT THE HOST: I am an Austrian-American art historian, curator, and writer. I obtained my BA in History of Art at University College London and my MA in Arts Administration and Cultural Policy at Goldsmiths, University of London. My specializations are in contemporary art and the contemporary art market along with accessibility, engagement, and the demystification of the professional art sector. Here are links to my social media, feel free to reach out: Instagram⁠ @alexandrasteinacker   ⁠ Twitter ⁠@alex_steinacker⁠ and LinkedIn at ⁠Alexandra Steinacker-Clark⁠ COVER ART: Lisa Schrofner a.k.a Liser⁠ ⁠⁠www.liser-art.com⁠ and Luca Laurence www.lucalaurence.com  Episode Production: Paul Zschornack

Alyina Zaidi at Alexander Berggruen, NY, 2024. Courtesy of the artist and Alexander Berggruen, NY. Alyina Zaidi (b. 1995, New Delhi, India) holds an MA in painting from the Royal College Of Art, London and a BA from Mount Holyoke College, South Hadley, MA. Her work has been included in exhibitions at Alexander Berggruen, New York, NY; Newchild Gallery, Antwerp, BE; Indigo + Madder Gallery, London, UK; Pippy Houldsworth Gallery, London, UK; and White Cube, London, UK, among others. Zaidi is a London-based artist from New Delhi and Srinagar. This is Zaidi's first solo show with the gallery, following her inclusion in the gallery's group show Katja Farin, Maria Farrar, Esme Hodsoll, Alyina Zaidi (March 1-April 5, 2023). In Lost in the belly of a whale, Zaidi establishes stronger narrative threads with more action than her previous work. Here, nomadic white strawberries attempt to herd their goats and are at war with imperial frogs. In the top left register of Facts and hearsay—an encyclopaedia of various natural and less natural phenomena, these frogs steal the moon. Angels purchase Moons for sale and, in Dubious benediction, guard pickle jars of frogs and moons. On occasion, the unreliable nature of history emerges where portions of the composition are swallowed by dark orbs Zaidi calls “the cave of the unknown.” These nebulous scenes offer a mode of abstraction for the artist and indicate that there is more to learn about this universe. Further embracing reality-warping unknowns, Zaidi's paintings are filled with magic and mythology. As in previous work by the artist, cherry tomatoes and radishes become spirits, angels with opulent tentacled wings populate most paintings, chilis hang to ward off the evil eye, and rituals are performed around the moon for luck. New supernatural elements in this body of work include poltergeists who lurk in windows and sacred trees. In Zaidi's painting Euphemia and the assassin, she alludes to a version of the story of Saint Euphemia's martyrdom in which she was thrown into an arena with lions meant to kill her. In the Islamic tradition of indirect representation, rather than painting Euphemia as a person, Zaidi paints her as a bejeweled textile surrounded by lacy fabric. In a playful rendition of the tale, here, Euphemia is cradled in a hammock of lions' tails. Alyina Zaidi, Perfumed veils and gauzy tails, 2024, acrylic on canvas, 16 x 16 in. (40.6 x 40.6 cm.). Courtesy of the artist and Alexander Berggruen, NY. Photo: Mark Blower Alyina Zaidi, Dubious benediction, 2024, acrylic on canvas, 30 x 30 in. (76.2 x 76.2 cm.), Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Mark Blower Alyina Zaidi, Facts and hearsay—an encyclopaedia of various natural and less natural phenomena, 2024 acrylic on canvas, quadriptych, overall: 77 x 200 in. (195.6 x 508 cm.), each: 77 x 50 in. (195.6 x 127 cm.). Copyright the artist. Courtesy of the artist and Alexander Berggruen, NY. Photo: Dario Lasagni  

Contemporary artist Sylvia Snowden figures different approaches to expressionism, layering Western European and African American art histories, through their paintings of M Street, in Washington DC (1978-1997). Inside the White Cube: Sylvia Snowden runs at White Cube Paris until 16 November 2024. For more about Sylvia Snowden, read about their exhibitions with Edel Assanti during Frieze London in 2022, in gowithYamo: gowithyamo.com/blog-post-app/frieze-2022-retrospective For more about Chaïm Soutine read about ‍Soutine: Kossoff at Hastings Contemporary, in gowithYamo: gowithyamo.com/blog-post-app/a-perfect-match-chaim-soutine-meets-leon-kossoff For more about Oskar Kokoschka, read about A Rebel from Vienna at the Musée d'Art Moderne in Paris, and Guggenheim Bilbao, in The Quietus: thequietus.com/culture/art/skar-kokoschka-a-rebel-from-vienna-guggenheim-bilbao-review/ 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

Dame Tracey Emin is one of the most famous artists and leading figures of the Young British Artists movement of the 1990s. Hers is a uniquely provocative, confessional style which confronts issues such as trauma of abortion, rape, alcoholism and sexual history. In recent years Tracey has focussed on painting and she has just published her first in-depth exploration of her painted work, simply called Paintings. Anita Rani talks to her about that and her latest exhibition, I followed you to the End, on now at the White Cube gallery in London.Nikki Doucet has been called the most powerful person in English women's football. She is the newly appointed CEO of the Women's Professional Leagues Ltd which took over leadership of the two top tiers of women's football from the Football Association this summer. Nikki and her team have big plans to revolutionise the women's game, as she tells Clare McDonnell.Four-time Oscar nominee Saoirse Ronan broke into Hollywood at 13 years old with her performance as Briony Tallis in Atonement. She has also appeared as Jo March in Little Women, as the lead actress in Brooklyn and won a Golden Globe for her performance in Lady Bird. She joins Clare to discuss her latest role in the film The Outrun in which she plays Rona, a young woman struggling with addiction.The number of women taking up NHS cervical screening test invitations has been declining for the last 20 years. Healthwatch England did research with women who were reluctant to accept NHS invitations for screening and found that 73% would do an at-home test instead. A trial done by King's College, London earlier this year found that if self-sample kits were available on the NHS, 400,000 more women would be screened per year. Chief Executive of Healthwatch England, Louise Ansari, and Dr Anita Lim, lead investigator of the King's College London trial, join Clare to talk about their findings.On 22 September 1994, the American TV show Friends premiered on NBC and the characters Monica, Rachel, Phoebe, Joey, Chandler and Ross became household names. To celebrate its 30th anniversary, Anita speaks to one of the show's writers and producers, Betsy Borns. Plus, we hear from journalist Emma Loffhagen about why the show still resonates with Gen Z all these years later.Carrie Hope Fletcher is an author, singer, West End star – and now a new mum. She joins Anita to talk about her UK tour, Love Letters, which will feature musical theatre favourites and love letters from the audience. Presenter: Anita Rani Producer: Annette Wells Editor: Rebecca Myatt

Dame Tracey Emin, one of the most famous artists and leading figures of the Young British Artists movement of the 1990s. Hers is a uniquely provocative, confessional style which confronts issues such as trauma of abortion, rape, alcoholism and sexual history. In recent years Tracey has focussed on painting and she has just published her first in-depth exploration of her painted work, simply called Paintings. It coincides with a new exhibition, I followed you to the end, at the White Cube gallery in London, which features mostly paintings that her treatment and recovery from bladder cancer.A man who raped, and stabbed a woman 60 times in Northumberland 27 years ago has been recommended for release by the parole board. Steven Ling was jailed for life in 1998 after murdering Joanne Tulip. Ms Tulip's mother, Doreen Soulsby has condemned the decision. She shares her story with Anita.Dame Maureen Lipman proposed to her partner, David Turner, as a joke. And he said yes! The two 78-year-olds are now engaged. Dame Maureen joins Anita to tell her the story of how it happened, and why she was the one who proposed. Since this summer, Woman's Hour has been taking a deep dive into the world of 'genre fiction', the women who write it and the women who read it. We've turned the pages of Romantasy; Science fiction; Historical novels; Spy and Thrillers. Today it's the turn of YA, Young Adult fiction. To discuss the YA genre and what's in it for women, Anita is joined by Catherine Doyle, co-author of the Twin Crowns trilogy, whose new YA novel, an epic, enemies-to-lovers fantasy, The Dagger and The Flame, is out this month; and Laura Dockrill, author of Lorali and Big Bones.

With FRIEZE week coming up soon, and Surrealist female artists hitting big numbers at auction, I thought it would be the perfect time to release this episode with the amazing JULIE CURTISS. Since I saw first saw Julie's work at her solo at White Cube Mason's Yard in 2021, I was transfixed by her paintings which are filled with the uncanny, mundane, and grotesque shapes all painted in vivid colours. We discuss Julie's upbringing, her emotions when her paintings were flipped at auction achieving 10,000% return, what it's like being an artist working with White Cube, what are the emotional processes she goes through when making her work and some of my favourite paintings she's painted. Download, it's a masterpiece.Thank you @whitecube for setting this up.Credit line: © Julie Curtiss Photo © White Cube (Fabrice Gousset)Music by @robinkatz_Produced by Martin Lumsden Hosted on Acast. See acast.com/privacy for more information.

Artist Ibrahim Mahama ‘time travels' between British colonial and independent Ghana, tracing railway lines across African and European countries in the Non-Aligned Movement (NAM) in the 20th century. Ibrahim Mahama is well-known for his large-scale, site-specific installations that speak to the local effects of colonialism, migration, and global economics. Working in Tamale, Kumasi, and Accra, Ghana, he often works with found materials, collected from abandoned places of pre- and post-independence production. Spanning what was then known as the Gold Coast, the Sekondi Locomotive Workshop was built by the British in 1923, to extract and transport resources like cocoa and minerals, the foundations of European colonial wealth and contemporary capitalism. With charcoal and ink drawings, sculptures and film, Ibrahim connects the histories, legacies, and labourers of this now disused railway back to the UK - layering them atop Waverley, one of the nation's busiest train stations, for his first exhibition in Scotland. With Ibrahim's jute sack textile installations, we discuss shared practices of reuse, repurpose, and recycle with El Anatsui, an inspiration from an older generation who is also exhibiting for the first time in the city of Edinburgh. He shares photographs, personal letters, stamps from his archive, highlighting the respect shown to West African leaders like Kwame Nkrumah in countries of the Non-Aligned Movement (NAM), especially socialist Yugoslavia. Using train carriages as sculptures, galleries, and classrooms back in Tamale, Ibrahim reconstructs Ghana's colonial past to build its future, reversing flows of trade and migration to Africa. We discuss the potential and ‘charge' within these materials which, like bodies, carry lived experience and knowledge, and the complex relationship with lasting architectures and ‘rural cosmopolitanism' in societies today. Ibrahim also shares his collaborations across African and diasporic communities, with craftspeople, weavers, and makers at his Red Clay Studio in northern Ghana, to artists like Anya Paintsil in Manchester. Ibrahim Mahama: Songs about Roses runs at Fruitmarket in Edinburgh until 6 October 2024. A book launch and artist talk takes place on the penultimate day of the exhibition (the day before the exhibition closes). A Spell of Good Things opens at White Cube New York on 5 September 2024. Parliament of Ghosts (2019) continues online via the Whitworth, theVOV, and Vortic Art. And Purple Hibiscus, part of Unravel: The Power & Politics of Textiles in Art, was installed at the Barbican in London through summer 2024. Hear artist Serge Attukwei Clottey live at the Eden Project in Cornwall, on his family's internal migration from Jamestown/Usshertown in British Accra, Ghana, to coastal La (Labadi), Afrogallonism, and his collaborative practice, uplifting his community with upcycled plastic waste, through Noko Y3 Dzen (There's Something in the World) (2018–Now): pod.link/1533637675/episode/8093f81c6a2eaaf7589bb73768e2a20c 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

Time Machine Episode:Disqualified for Swimming Too Deephttps://www.ohmtown.com/groups/mobble/f/d/gb-swimmer-disqualified-for-swimming-too-far-underwater-at-olympics/US Cocoa has Unsafe Lead Levelshttps://www.ohmtown.com/groups/nonsequiturnews/f/d/be-cautious-us-chocolate-and-cocoa-tests-reveal-unsafe-lead-levels/Taco Bell continues Fast Food Cold Warhttps://www.ohmtown.com/groups/nonsequiturnews/f/d/taco-bells-drive-thru-ai-might-take-your-next-order/Off Shore Wind Farmshttps://www.ohmtown.com/groups/technologytoday/f/d/offshore-wind-farms-connected-by-an-underwater-power-grid-for-transmission-could-revolutionize-east-coast-energy/Olympic Lazinesshttps://www.ohmtown.com/groups/stockmarketeers/f/d/watching-the-olympics-at-work-the-summer-games-could-result-in-a-2-6-billion-u-s-productivity-loss/Undersea Internet Cableshttps://www.ohmtown.com/groups/technologytoday/f/d/undersea-internet-cables-connecting-australia-to-the-world-threatened-by-boats-spies-natural-disasters/Hamburgers Blamed for Failed Doping Testhttps://www.ohmtown.com/groups/nonsequiturnews/f/d/a-chinese-olympic-swimmer-failed-a-doping-test-but-was-given-a-pass-after-it-got-blamed-on-hamburgers-report/Park Fire creates Smoke Thundercloudshttps://www.ohmtown.com/groups/mobble/f/d/californias-park-fire-is-creating-smoke-thunderclouds/White Cube in Londonhttps://www.ohmtown.com/groups/primeglass/f/d/white-cube-in-london-lets-go-of-38-invigilators-most-of-them-artists-and-students/Private Islands for Salehttps://www.ohmtown.com/groups/stockmarketeers/f/d/here-are-5-private-islands-with-houses-you-can-buy-for-under-2-million/ -- Watch live at https://www.twitch.tv/ohmtown

I was THRILLED when the incredible artist SARAH MORRIS agreed to be my first artist on A Life Curated. Sarah delivers an engrossing insight into her work from the text based paintings from the mid 90s to her latest Spider Web series all currently being exhibited in a 180 work retrospective 'All Systems Fail' at Zentrum Paul Klee in Switzerland. In addition, Sarah discusses assisting Jeff Koons, her views on being a female artist today, how she's stayed at the top for so long (giving invaluable advice to young artists) meeting Jay Jopling, her earliest art memories, and of course, who she would commission to do her portrait. I'm so honoured to have kicked off Season Two with such a fantastic and established artist and brilliant guest. Enjoy, it's a MASTERPIECE.Special thanks to White Cube for making this happen.Photo by Anna GaskellMusic by Robin KatzProduced by Martin Lumsden Hosted on Acast. See acast.com/privacy for more information.

"Embodied Narratives" é a exposição colectiva que apresenta o trabalho de um conjunto de artistas contemporâneos africanos sobre o tema do corpo numa projecção associada ao território e ao tempo. Alida Rodrigues; Benigno Mangovo, Cristiano Mangovo; Hennie Meyer; Kébé; Luís Damião; Nelo Teixeira; Osvaldo Ferreira; René Tavares; Saïdou Dicko; Sanjo Lawal, Teresa Kutala Firmino; Uólofe Griot e Vivien Kohler são os artistas que, em ruptura com a "fetichização e hiperestilização do corpo negro", apresentam, na galeria This Is Not a White Cube, um conjunto de trabalhos onde sobressai "a figuração e o retrato como veículos de expressão".A RFI visitou o espaço da galeria This Is Not a White Cube na capital portuguesa. A co-directora artística, Graça Rodrigues, fez a visita guiada à exposição, ajuda-nos a entrar no universo dos artistas presentes na colectiva e começa por explicar como foi pensada a mostra "Embodied Narratives".

I'm delighted to be joined on this episode by Tim Marlow, currently CEO and Director of the Design Museum in London. Prior to this Tim was Artistic Director of the Royal Academy and Director of Exhibitions at White Cube. A highly respected curator, author and broadcaster, Tim has curated and overseen some game changing exhibitions working with the world's most celebrated artists. In 2020, Tim was awarded an OBE for services to art. In this episode I deep dive into his mind and find out what makes a great exhibition, what the highs and challenges were working at White Cube, the Royal Academy and the Design Museum, which exhibitions and artists have made a profound impact on his life, and much much more. Enjoy!This episode has been kindly sponsored by https://www.baylissbooks.co.uk/, specialists rare book dealers with music composed by Robin Katz. Hosted on Acast. See acast.com/privacy for more information.

Episode 207 feat. Adam, Shug and SMac. Come send it with the boys, as we discuss - Dog drugs, Making your bed, Lonely ropes, Gina's portrait, The Devils juice, Sunning your butthole, Medieval Times, Beast Boy, The Simpsons, 94' Raiders, David McBride, Happy Gilmore 2, and much more... BoSodes: patreon.com/BigSendPodcast Please forward all complaints to: bigsendpodcast@gmail.com   

Voice Coach, Script Consultant, Corporate Leadership Trainer, and Confidence Expert Milly Ellis joins us on the podcast today. In this episode, we discuss her work with powerhouses such as Netflix, Pathé, White Cube and HBO as well as explore some useful techniques in elocution and elevating one's self esteem through clear speech …I even undertake the embarrassing task of poetry reading ! It's definitely worth a listen if you're down to improve your voice and ward off those oh so common vocal ticks and nagging insecurities. Hosted on Acast. See acast.com/privacy for more information.

GOING THROUGH STAGES. Graham Steele is a private art dealer, adviser and collector who lives between Los Angeles and Brazil with his husband, Ulysses de Santi, and their young daughter, Asher. Born in rural Vermont, Steele attended Georgetown University, Washington D.C., followed by UCL in London, from which he graduated with his MA in 2004. He started his career at Sotheby's, joined White Cube in 2006, and is a former partner at the eminent contemporary and modern art gallery Hauser & Wirth, a role which he left in 2020 to start his own business. “Everything starts with education” “Collecting is incredibly personality driven” “I am in the business of helping people find things that are relevant to their lives“

Ibrahim Mahama is an installation artist who works with textiles, material production and found objects to create large-scale public interventions. He initially garnered widespread attention for his open-air installations made of stitched-together jute sacks that were draped on or over architectural structures, such as libraries, an airport, and a museum, in the cities of Accra and Kumasi, where he is based. His practise involves a collaborative process of sourcing, collecting, reproducing and installing the often-textile based materials he works with. His pieces speak to ideas around historical memories, traditional belief systems, local economies and the democratisation of art. Ibrahim's works have been shown in various group and solo shows, including The Norval Foundation in Cape Town, The White Cube in London and Hong Kong and has been a part of the Ghana Pavilion for 2019 Venice Biennale, among many others. In this episode, Ibrahim and I discuss his new large-scale public commission at the Barbican, the process behind creating this work and his hopes for its reception.Ibrahim Mahama Purple Hibiscus runs at the Lakeside Terrace at the Barbican from April 10 - 18 August 2024 and is free to the public.Read Shade Art Review Shade Art Review Series 10 | 20% discount codeShade Podcast InstagramShade Podcast is Executive produced and hosted by Lou MensahMusic King Henry IV for Shade Podcast by Brian JacksonEditing and mixing by Tess DavidsonEditorial support from Anne Kimunguyi Help support the work that goes into creating Shade Podcast. https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

Ever wondered why art galleries have plain white walls, bright white light, and simple minimalist decor? This interior practice has been labelled the ‘white cube' by art writer Brian O'Doherty in his fundamental 1976 text, ‘Inside the White Cube: The Ideology of the Gallery Space.' This week for our art history segment, Audrey dives into the concept of the 'White Cube' gallery interior, and why we now use it globally.See omnystudio.com/listener for privacy information.

In this episode host Charlotte Burns is joined by artist Alvaro Barrington, who brings as much generosity of spirit to this conversation as he does to his art practice. Fundamentally curious, Alvaro wants to connect with as many people as possible and to make art that is as relevant to people today as Hip Hop was to him as a kid growing up in New York in the 1990s. But, as the art world has expanded, he says, it's also become narrower in terms of who gets in. Alvaro is interested in changing that, creating less hierarchy and more connections. What if art could be as beloved as music by Beyonce or Taylor Swift? “Art has to be more in people's lives,” he says, “It just has to figure that out.”

‘Sex, death, race and religion' – these are the topics that the London-based artists Gilbert and George announced they wanted to cover in this talk with Dr Nicholas Cullinan of the National Portrait Gallery. On Context offers insights into the artist's relationship to concepts: from sculpture to the city, ‘picture making' to posterity. Gilbert and George resist many of the contexts and interpretations projected onto their practice: trying to keep their work as accessible and open as possible, reflecting their self-proclaimed belief in ‘art for all'.  'We like to let the pictures make themselves as much as possible. We like to think that there are other forces apart from us, being in the studio knowing what to do. […] When we go to the studio in the morning and see what we were doing the day before, it's always impossible for us to reconstruct exactly how we arrived at it.' – Gilbert & George  Gilbert and George live and work in London and since they met in 1967, they have made over 100 museum exhibitions. In 2023, the Gilbert & George Centre opened in East London. Dr Nicholas Cullinan is Director of the National Portrait Gallery, London.  Find images of the artwork discussed here. About Frieze Masters Podcast Series two of the Frieze Masters Podcast is now available, bringing you our annual programme of live talks – the Frieze Masters Talks programme – curated by the Director of the National Portrait Gallery, Dr Nicholas Cullinan. These eight conversations between leading artists, writers, museum directors and curators all reflect the ethos of the Frieze Masters fair: looking at the past with a contemporary gaze. The Frieze Masters Talks programme and the Frieze Masters Podcast are brought to you by Frieze in collaboration with dunhill, the foremost British luxury menswear house. This podcast is a Reduced Listening production. The producer was Silvia Malnati and sound engineer was Andy Fell. About Frieze Frieze is the world's leading platform for modern and contemporary art, dedicated to artists, galleries, collectors and art lovers alike. Frieze comprises three magazines –

Ep.184 Courtney Willis Blair the US Senior Director in White Cube's first public gallery in New York City. She joined in 2023. Courtney will be responsible for shaping the gallery's curatorial programme and brand both in the region and across the US. A member of the White Cube's Global Board of Directors, she will play a key role in shaping the strategy for the gallery internationally. She was formerly a Partner and Senior Director at Mitchell-Innes & Nash, where she led artist canonical strategy and institutional engagement in the US and internationally, from projects at documenta and São Paulo Biennial, to exhibitions at Crystal Bridges Museum of American Art, the Jewish Museum, Museum of Modern Art, the Whitney Museum of American Art, and the Speed Art Museum. As a writer and journalist, she has profiled some of the world's leading artists, architects, and curators. She is the founder of Entre Nous, an international body of Black women art dealers established in 2016, and serves on the boards of The Kitchen, Triple Canopy, and the International Studio & Curatorial Program. Photo by Myesha Evon Gardner White Cube https://www.whitecube.com/news/courtney-willis-blair-to-join-white-cube-as-us-senior-director Whitewall https://whitewall.art/art/courtney-willis-blair-lets-artists-lead-at-white-cubes-first-new-york-space/ Apollo Magazine https://www.apollo-magazine.com/courtney-willis-blair-40-under-40-usa-the-business/ Curbed https://www.curbed.com/2020/10/the-art-stars-of-entre-nous.html Culture Type https://www.culturetype.com/2022/11/21/appointment-courtney-willis-blair-will-lead-white-cube-gallery-in-new-york/ Cultured Magazine https://www.culturedmag.com/article/2023/09/28/theaster-gates-david-hammons-tiona-nekkia-mcclodden-white-cube Frieze https://www.frieze.com/article/courtney-willis-blair-interview-2022 Galerie https://galeriemagazine.com/women-changing-the-art-world-2023/ Widewalls https://www.widewalls.ch/news-feed/white-cube-new-york-courtney-willis-blair NPR https://www.npr.org/2023/10/06/1203274188/londons-white-cube-shows-fresh-and-new-art-at-first-new-york-gallery Gotham Magazine https://gothammag.com/nyc-women-of-style-2023 ARTnews https://www.artnews.com/art-news/news/white-cube-courtney-willis-blair-1234645902/ The Art Newspaper https://www.theartnewspaper.com/2020/12/09/courtney-willis-blair-becomes-partner-at-mitchell-innes-and-nash Art Forum https://www.artforum.com/news/mitchell-innes-nash-promotes-courtney-willis-blair-to-partner-249045/ Issuu https://issuu.com/frieze.com/docs/frieze_week_ny_2023/s/24501279 New York Times https://www.nytimes.com/2020/06/21/arts/design/art-basel-black-owned-galleries.html

This episode we are hugely excited to be joined by the artist Tiona Nekkia McClodden! Tiona is a visual artist, filmmaker, and curator whose work explores and critiques issues at the intersections of race, gender, sexuality, and social commentary.  Born in Blytheville, Arkansas and raised in Greenville, South Carolina, Tiona weaves narratives through archives, memories and objects, integral to her past and present, that shape her broader practice.  In 2022, Tiona's exhibitions at The Shed and 52 Walker alongside her year-long installation at MoMA in New York, garnered significant acclaim, prompting The New York Times to identify Teeona as “one of the most singular artists of our aesthetically rich, free-range time.” Her work have been shown at Kunsthalle Basel, the Institute of Contemporary Art-Philadelphia, the Philadelphia Museum of Art; the Museum of Modern Art (New York); the Whitney Museum of American Art (New York) ; the New Museum (New York); Haus der Kulturen der Welt (HKW) – Berlin, among many others. And, just in September, Tiona opened up the installation Tiona Nekkia McClodden: Play Me Home at the Baltimore Museum. Some artists and institutions discussed in this episode: Chryssa Jacob Lawrence Brad Johnson (American, 1952–2011) Barbara Hammer Steve McQueen Palais de Tokyo, Paris Walker Art Center, Minneapolis Conceptual Fade, Philadelphia Whitney Museum, New York Museum of Modern Art, New York 52 Walker, New York Tiona is represented globally by White Cube gallery. https://www.whitecube.com/artists/tiona-nekkia-mcclodden For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram. Enjoy! https://www.instagram.com/artfromtheoutsidepodcast/

We meet leading artist Victoria Cantons from her London studios!!! We discuss her autobiographical as well as confessional work. Cantons presents a record of trauma and healing, alongside a rigorous inquiry into the social constraints surrounding gender politics. Deeply informed by her own experience of limitation and stigma, her work reverberates with notions of freedom, selfhood, representation, power and aspects of the human condition which she writes, despite our divergent identities and experiences, "connect us all." While her incisive and inquisitive creative gaze extends across photography, text and video, painting and drawing remain firmly at the centre of her practice, providing a means of, she writes, "clearing the drainpipes" and exploring the question what can paint and painting do? Her 2022 Flowers Gallery exhibition People Trust People Who Look Like Them presented a series of large self-portraits painted from a personal archive of photographs made over a period of more than a decade in the years before, during, and after intensive facial surgery. Luminous and visceral in their depiction of flesh, the paintings capture the shape-shifting bloom of post-surgical bruising, fading scar tissue, greying hair and the mottled lustre of theatrically applied makeup. Cantons describes the importance of accuracy and honesty in the paintings, saying “I needed to show exactly what this woman has been through.” Cantons is a multi-disciplinary artist with a focus on painting. Her works can be best described as figurative and colourist with political undercurrents. Cantons has a transgender history – having transitioned at thirty-nine – and was an only child, growing up in London with a Catholic mother from Spain and Jewish father of French and Russian descent. Because of this background, Cantons is keenly aware of questions concerning boundaries, stigma and freedom. “What we as individuals present to the world is multifaceted and not always visible, a continuous evolution in response to experience and in relationship to each other.” From its content and imagery to its titles, the human condition, gender, and social identity are at the core of her work. Cantons's portraits and still lifes are painted in gestural brushstrokes with a limited, muted, palette that tends to evoke feelings of nostalgia. She often depicts youthful figures who shine their individual light upon the treacherous path to adulthood; much like how the tenderness of Spring paves the way for a scalding summer.Victoria Cantons (b. 1969) lives and works in London. She studied Fine Art Painting at Wimbledon (UAL); followed by Turps Art School, London; and graduated with an MFA in Painting from Slade, UCL in 2021, where she received the Felix Slade Scholarship (2018). Cantons has exhibited her work internationally, with some of her most recent shows at London's Guts Gallery and Flowers Gallery (both 2023), the Tree Art Museum in Beijing (2021), Nicodim Gallery in Los Angeles (2020) and White Cube in London (2020).Follow @VictoriaCantons on Instagram and her official website: www.victoriacantons.comVisit her galleries, Flowers Gallery: https://www.flowersgallery.com/artists/1325-victoria-cantons/Guts Gallery: https://gutsgallery.co.uk/artists/44-victoria-cantons/ Hosted on Acast. See acast.com/privacy for more information.

Ep.160 features Tunji Adeniyi-Jones (b. 1992, London, United Kingdom), an artist living and working in New York, NY. Adeniyi-Jones received a BFA from The Ruskin School of Art, University of Oxford, Oxford, United Kingdom, in 2014, and an MFA from Yale University School of Art, New Haven, CT, in 2017. Recent solo exhibitions include Deep Dive, White Cube, Hong Kong, China (2023); Tranquil Dive, Morán Morán, CDMX, Mexico (2023); Emergent Properties, Nicelle Beauchene Gallery, New York, NY (2022); Voix Intérieures, White Cube, Paris, France (2022) among others. His work has been included in numerous group exhibitions, including When We See Us: A Century of Black Figuration in Painting, Zeitz MOCAA, Cape Town (2022); In Our Time: Selections from the Singer Collection, Scottsdale Museum of Contemporary Art, AZ (2022); Out of the Fire: The 14th Dakar Biennale, Senegal (2022); Fire Figure Fantasy: Selections from the ICA Miami's Collection, ICA Miami, FL (2022); All Things Bright and Beautiful, Birmingham Museum of Art, AL (2022); among others. Adeniyi-Jones's work is included in the permanent collections of the Aishti Foundation, Lebanon; the Dallas Museum of Art, TX; the Nasher Museum of Art, Durham, NC; Institute of Contemporary Art, Miami, FL; The Studio Museum, Harlem, NY; among others. Headshot Photo © On White Wall, 2023 Artist https://www.tunjiadeniyi-jones.com/ White Cube https://www.whitecube.com/artists/tunji-adeniyi-jones David Zwirner https://www.davidzwirner.com/viewing-room/2022/utopia-editions-tunji-adeniyi-jones Flag art foundation https://www.flagartfoundation.org/exhibitions-tunji-adeniyi-jones Ocula https://ocula.com/art-galleries/white-cube/exhibitions/tunji-adeniyi-jones-deep-dive/ ARTNews https://www.artnews.com/art-news/market/phillips-london-tunji-adenjiyi-jones-jean-dubuffet-results-1234589900/ Cultured https://www.culturedmag.com/article/2021/09/20/tunji-adeniyi-jones Hypebae https://hypebae.com/2023/3/tunji-adeniyi-jones-deep-dive-exhibition-white-cube-hong-kong-about Art Asia Pacific https://artasiapacific.com/people/the-mischievous-clamoring-of-ornament-interview-with-tunji-adeniyi-jones Morán Morán https://moranmorangallery.com/artists/tunji-adeniyi-jones/ Tatler Asia https://www.tatlerasia.com/lifestyle/arts/tunji-adeniyi-jones-first-exhibition-hong-kong Guest Artists Space https://www.guestartistsspace.com/News/event-interwoven-histories Black Rock Senegal https://blackrocksenegal.org/tunji-adeniyi-jones/ Contemporary Art Daily https://www.contemporaryartdaily.com/project/tunji-adeniyi-jones-at-nicelle-beauchene-gallery-new-york-25835

Hekla Magnúsdóttir byrjaði níu ára gömul að læra á selló en þegar hún kynntist þeramíni á unglinsaldri þá var ekki aftur snúið. Síðan þá hefur þetta forláta hljóðfæri verið henni stöðugur innblástur og uppspretta sköpunar. Hekla fékk viðurkenningu úr Minningarsjóði Kristjáns Eldjárns gítarleikara þann 16. júní síðastliðinn, en sjóðurinn heiðrar árlega tónlistarfólk með fjárframlagi. Síðasta plata Heklu kom út í fyrra og kallast hún Xiuxiuejar, sem þýðir að hvísla á katalónsku. Við ætlum að kynnast Heklu betur í þætti dagsins og hennar einstaka hljóðheimi. Þýski myndlistarmaðurinn Anselm Kiefer hefur ítrekað reynt að lesa þessa bók Finnegans Wake. Fyrr í þessum mánuði opnaði samnefnd sýning Kiefers í White Cube Bermondsey í London sem má segja að sé óður til bókarinnar og efni hennar og texti er alltumlykjandi. Auk þess sem hann vísar í æsku sína og leikfangasmíði í rústum heimilis fjölskyldu hans. Salurinn í White Cube er algjör geimur og nú er eins og sprengja hafi lent í honum. Steinsteypubrot eru á víð og dreif, innan um gaddavír og annað brak. Það ásamt öðrum innsetningum, skúlptúrum og málverkum á sýningunni kann að gefa af sér hamfarakenndan blæ, fullan af eyðileggingu en Kiefer segir að þarna sjái hann aðeins upphaf. Þetta á sér rætur í hans eigið upphaf, Kiefer er fæddur árið 1945 á lokametrum síðari heimsstyrjaldarinnar í Donaueschingen, fallegum bæ í svartaskógi í suður Þýskalandi. Við ræðum við Margréti Tryggvadóttur formann rithöfundasambandsins sem nýlega gerði sér ferð í White Cube. Og við höldum áfram ferð okkar með Guju Dögg Hauksdóttur arkitekt um Frakkland, í þetta sinn fer hún meðal annars til Rúðuborgar og dáist þar að formfagurri dómkirkjunni og til fjalls Mikjáls erkiengils, þar sem hún klífur snarbrattar tröppur virkisveggjanna.

Hekla Magnúsdóttir byrjaði níu ára gömul að læra á selló en þegar hún kynntist þeramíni á unglinsaldri þá var ekki aftur snúið. Síðan þá hefur þetta forláta hljóðfæri verið henni stöðugur innblástur og uppspretta sköpunar. Hekla fékk viðurkenningu úr Minningarsjóði Kristjáns Eldjárns gítarleikara þann 16. júní síðastliðinn, en sjóðurinn heiðrar árlega tónlistarfólk með fjárframlagi. Síðasta plata Heklu kom út í fyrra og kallast hún Xiuxiuejar, sem þýðir að hvísla á katalónsku. Við ætlum að kynnast Heklu betur í þætti dagsins og hennar einstaka hljóðheimi. Þýski myndlistarmaðurinn Anselm Kiefer hefur ítrekað reynt að lesa þessa bók Finnegans Wake. Fyrr í þessum mánuði opnaði samnefnd sýning Kiefers í White Cube Bermondsey í London sem má segja að sé óður til bókarinnar og efni hennar og texti er alltumlykjandi. Auk þess sem hann vísar í æsku sína og leikfangasmíði í rústum heimilis fjölskyldu hans. Salurinn í White Cube er algjör geimur og nú er eins og sprengja hafi lent í honum. Steinsteypubrot eru á víð og dreif, innan um gaddavír og annað brak. Það ásamt öðrum innsetningum, skúlptúrum og málverkum á sýningunni kann að gefa af sér hamfarakenndan blæ, fullan af eyðileggingu en Kiefer segir að þarna sjái hann aðeins upphaf. Þetta á sér rætur í hans eigið upphaf, Kiefer er fæddur árið 1945 á lokametrum síðari heimsstyrjaldarinnar í Donaueschingen, fallegum bæ í svartaskógi í suður Þýskalandi. Við ræðum við Margréti Tryggvadóttur formann rithöfundasambandsins sem nýlega gerði sér ferð í White Cube. Og við höldum áfram ferð okkar með Guju Dögg Hauksdóttur arkitekt um Frakkland, í þetta sinn fer hún meðal annars til Rúðuborgar og dáist þar að formfagurri dómkirkjunni og til fjalls Mikjáls erkiengils, þar sem hún klífur snarbrattar tröppur virkisveggjanna.

Porch Swing Orchestra is an art project that pairs music recorded outside with photographs made on-site. Performed and recorded at home and away, solo and with others – birds, guitars, and trucks conspire to form a chance-operated orchestra of delight. The Podcast and YouTube streams include the most current PSO piece along with randomly selected pieces from the past. This edition includes a beautiful poem written and read by Emily Scarlet Kramer, originally posted in the heady months of April 2020. Its message of hope and care feels just as urgent today. no.211's title was inspired by poetry, so it's fitting that the Pod and YouTube streams also feature the medium.Also in the streams is PSO no.50 from March of 2019, a piece inspired by Wallace Steven's book of poems Spring and All. In my introduction, I reproduced the following fragment from this book-length poem that might as well be the PSO credo.Our orchestra is the cat's nuts – Banjo jazz with a nickleplated amplifier to soothe the savage beast –0:00: no.211 I + Bird + Music Create a Universe the Size of a Bathtub, June 20, 2023 3:06: no. 58 | Sundials and Sirens, June 13, 2019:4:36: no.186 Gleaming the White Cube, Lora Reynolds Gallery Oct 19, 2022 6:20: no. 93 Tune Poem, poem written and read by Emily Kramer, April 26, 2020 8:11: no. 207 From Where I Sit, May 4, 2023 10:21: no. 50 Spring and All March 19, 2019LINKSOG PSO site at https://porchswingorchestra.org/See the images and listen without the introduction at https://youtu.be/LZbjJIkQ5oQPSO Newsletter https://porchswingorchestra.substack.com/ Get full access to Porch Swing Orchestra at porchswingorchestra.substack.com/subscribe

China enters Taiwanese airspace and Japanese waters. Is this business as usual or a serious escalation? Plus: the EU's “Hogwarts for ambassadors”, the latest fashion news and the White Cube gallery heads to Seoul.See omnystudio.com/listener for privacy information.

The term “polymath” is unquestionably overused, and often just plain wrong, but it suits the multi-hyphenate British designer, creative director, and artist Samuel Ross, whose hard-to-pin-down practice spans high fashion, streetwear, painting, sculpture, installation, stage design, sound design, product and furniture design, experimental film, and street art. Best known for founding the Brutalism-tinged fashion label A-Cold-Wall, which sits at the nexus of streetwear and high fashion, and for his work, earlier in his career, with the late Virgil Abloh, Ross also runs the industrial design studio SR_A and has collaborated with brands including Nike, Converse, and Timberland. On this week's episode of Time Sensitive, he talks about notions of ritual, essence, and alchemy; how his work straddles the line between the organic and the synthetic; and why he always thinks in threes.Special thanks to our Season 7 sponsor, Van Cleef & Arpels.Show notes: [03:59] “Samuel Ross: Coarse” at Friedman Brenda[06:41] Glenn Adamson[22:48] Hettie Judah's Lapidarium: The Secret Lives of Stones[27:45] Vitsoe 606 Shelving System[30:46] Virgil Abloh[37:02] “Samuel Ross: Land” at White Cube[42:05] Rhea Dillon[46:24] Sondra Perry's Typhoon Coming On[46:43] Christina Sharpe's In the Wake[46:46] Saidiya Hartman's Wayward Lives, Beautiful Experiments[50:30] Steve McQueen's Small Axe[52:41] John Berger[58:19] 2wnt4[58:53] Pyrex Vision[58:55] Kanye West[58:56] Donda[01:04:09] A-Cold-Wall[01:05:46] Jerry Lorenzo[01:09:25] Black British Artist Grants[01:12:22] SR_A[01:12:50] “Fashion Design: Samuel Ross/A-Cold-Wall” at the V&A Museum[01:13:22] Grace Wales Bonner[01:13:54] Mac Collins[01:13:59] Nifemi Marcus-Bello[01:20:44] David Drake

Prečo je v posledných rokoch v galériách a múzeách umenia toľko živých tiel a situačných akcií či atrakcií a ako s tým súvisí smartphone? Čo sa deje v sivej zóne medzi galériou (white cube) a divadlom (black box) a ako z toho vizuálne umenie a jeho publikum profituje? O „performatívnom obrate“ – akcii, choreografii a tanci v galérii sa Petra Hanáková rozpráva s umelkyňou Majou Štefančíkovou. Viac o umelkyni a performance v galérii sa dozviete aj tu: Maja Štefančíková na PechaKuchaNight Maja Štefančíková na Secondary Archive Black Box, White Cube, Gray Zone: Dance Exhibitions and Audience Attention Viktor Čech: Tanec v minovém poli aneb labyrinty choreopolitických systémů Máte otázku, kritiku, pochvalu alebo návrh na tému, ktorú by ste chceli v našom podcaste počuť? Napíšte nám na podcast@sng.sk. Partnerom podcastu je spoločnosť KIA, pre ktorú je umenie inšpiráciou. Za spoluprácu pri nahrávaní ďakujeme Vysokej škole výtvarných umení v Bratislave.

in der achten folge des kunstgeschichten abc widmen wir uns dem thema "a wie ausstellung" im (kunst-)museum. was ist das eigentlich und wie kommt eine solche präsentation von kunstwerken zustande? wer wirkt bei der entstehung einer ausstellung mit und für wen wird dieser aufwand überhaupt betrieben? welche arten der präsentationen gab es früher und welche gibt es heute? last but not least wollen wir wissen, welche kunstausstellung, die du in der vergangenheit besucht hast, besonders in erinnerung geblieben ist. oder: welche objekte müssten in einer solchen gezeigt werden, um etwas über dich zu erzählen? schreibe uns hierfür kommentar oder nachricht, beziehungsweise melde dich via instagram bei uns!

Win-Win News № 820 - 14.00 08.05.2023 - LIVE на Vk.com/VKTPP Малый бизнес в кризис - Видеоконференция с подписчиками - Win-Win Zoom 390 - Тема: WhiteCube и Школа спидкубинга или как открыть школу сборки кубика Рубика и других головоломок - Спикер: Сабина Сабирова - Vk.com/school_cube Влад Воробьев, ведущий ежедневного делового аудиоподкаста Vk.com/WinWinNews https://teletype.in/@omdaru/interview Скачать mp3-аудиоверсию https://disk.yandex.ru/d/_XWoIf8aQjrVzQ

During this episode Anthony aka. Uber Bear, Chris Moore aka Sammich and D.R. Willsey  explore his mono white cube design. We discuss the trials and tribulations of designing a singular color cube and what makes this type of curation both interesting and challenging. We break down the components within the environment and how David differentiates the archetypes within a single-color environment. We hope you are enjoying the show and, as always, happy cubing! Link to David's Mono White Cube: https://cubecobra.com/cube/overview/17a0sLink to the show notes: https://drive.google.com/drive/u/1/folders/1vZwn4xerGAImtId1E2YDPbd1VMc_G4X8Information on Cube Con 2023 : https://www.mtgcubecon.com/Check out Cube Heads: follow on Twitter https://twitter.com/Slick_Jagger_Want to support the show? Considered making all your playmat and speciality item purchases through our affiliate link with Inked Gaming. Use this link to support the show: https://www.inkedgaming.com/?rfsn=6963822.740748&utm_source=refersion&utm_medium=affiliate&utm_campaign=6963822.740748Uber Cube is now a Alter Sleeves affiliate!!! To bling out your cards and save 5% on the purchase use the following link. https://www.altersleeves.com/ubercube/ How to reach and join the discussion with Team Uber Cube: Find us at Twitter @UberCubeMTGPodReach Us at UberCubeMTGPodCast@gmail.comFollow May @myagic1 on TwitterLink us on Discord #UberCube     If you love the content and want to be a supporter of the show, please consider visiting our Patreon page. We have tiers of all levels that can both help us expand the show and allow you to be part of the discussion. https://www.patreon.com/ubercube?fan_landing=trueLastly if you love the show and would consider giving us a 5-star review on your favorite pod player that would be truly amazing! Thank you from Team Uber Cube for listening and happy cubing! Inked Gaming Affiliate Uber Cube is now a Inked Gaming affliate. Support the show and find awesome supplies, playmats, etc.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

The Little Bureau Of Little Complaints is back as Dave breaks the news to those around you and what in the world in Glenn Moore up to...

Julie Curtiss was born in Paris, France, and lives and works in Brooklyn, NY. She holds an MFA and a BA from École Nationale Supérieure des Beaux-Arts, Paris, France. Her work is included in the permanent collections of the High Museum, Atlanta, GA; MCA Chicago, Chicago, IL; Columbus Museum of Art, Columbus, OH; Bronx Museum of Art, NY; Los Angeles County Museum of Art, CA; Walker Art Centre, Minneapolis, MN; Maki Collection, Tokyo; Centre Pompidou, Paris, France; Dallas Museum of Art, Dallas, TX; Museum of Contemporary Art San Diego, CA; and Yuz Museum Shanghai, China. Julie is represented by Anton Kern Gallery and White Cube. Julie Curtiss Waiting room, 2022 Oil and vinyl paint on canvas 60 × 48 inches (152 4 x 121.9 cm Julie Curtiss Ice cream truck, 2022 Acrylic and oil on canvas 40 × 32 inches (101.6 × 81.3 cm) Mauvais Sang, 2020, Oil, acrylic, and vinyl on canvas 30 × 25 in (76.2 × 63.5 cm)

Photo by Kate Orne/Upstate Diary Melissa McGill, (born in Rhode Island, 1969) is a New York based interdisciplinary artist known for ambitious, collaborative, site specific public art projects. They take the form of site-specific, immersive experiences that explore nuanced conversations between land, water, sustainable traditions, and the interconnectedness of all living things. At the heart of her work is a focus on community, meaningful shared experiences and lasting impact. Spanning a variety of media including performance, photography, painting, drawing, sculpture, sound, light, video and immersive installation, McGill has presented both independent public art projects and solo exhibitions nationally and internationally since 1991. She lives in Lenapehoking (Beacon, New York). Her recent endeavor, Red Regatta (2019), was an independent public art project that activated Venice's lagoon and canals with four unprecedented large-scale regattas of traditional vela al terzo sailboats hoisted with hand-painted red sails, presented in collaboration with Associazione Vela al Terzo Venezia, co-organized by Magazzino Italian Art. In the Waves (2021) was a series of collaborative performances presented by Art&Newport that moved over the landscape in Newport Rhode Island evoking the urgency of rising sea levels and a rapidly changing climate with an ensemble of local community members. The artist invited members of the local community to join the ensemble of this inclusive movement-based public artwork to create a shared meaningful experience about these environmental themes. Her land art project, Constellation (2015-2017), installed on an island in the Hudson River, lit each night creating a new constellation transforming The Bannerman Castle ruin. She has been exhibiting her artwork nationally and internationally since 1991, and additional recent projects include Canaletto and Melissa McGill:Performance and Panorama, 2022, The Lightbox, United Kingdom; Palmas, 2014, Manitoga, Garrison, New York ; The Campi, 2018, Venice, Italy, as well as solo exhibitions at The Permanent Mission of Italy at the United Nations, New York organized by Magazzino Italian Art; Mazzoleni London-Torino; TOTAH, New York; White Cube, London; Power House, Memphis; Palazzo Capello, Venice; and CRG Gallery, New York. She is a graduate of The Rhode Island School of Design, a member of the Lenape Center Advisory Council, and a National Endowment of the Arts ArtWorks Grant recipient. In 2022 she was awarded the Helena Rowe Metcalf Visionary Award by the Rhode Island School of Design Alumni Association. Melissa McGill Sea Saga, 2022 organic indigo on clay coated wood panels (diptych) 36 × 30 × 1 ½ inches (91.5 × 76 × 4 cm) 36 × 30 × 1 ½ inches (91.5 × 76 × 4 cm) Oceanus, 2021 Organic indigo on clay coated wood panel 36 x 30 x 1.5 inches Celestial River, 2022 Organic idigo on yupo paper, 9″ x 12″  

THIS WEEK on the GWA Podcast, we interview one of the most esteemed young painters working in the world right now, LOUISE GIOVANELLI! Giovanelli's paintings bridge art history and modern pop-cultural narratives and explore the tensions between representation/ abstraction, fiction/ reality, historic/ contemporary, painting/ digital sphere. Retaining the meticulousness of renaissance paintings and coalescing it with 80s and 90s music videos, Giovanellis's delicate and electrically luminous scapes offer a language rooted in history yet feel completely otherworldly. On a screen they feel like one thing, but meet them in the flesh, and they become real, with dabs of white oil paint SPARKLING off the canvas. For me, they are time-based. Sit with these paintings and it's like their surfaces are constantly moving. Born in the 90s and now based in Manchester, Giovanelli has quickly risen up the ranks as one of Britain's leading young painters. Having completed her BA at Manchester School of Art, and her MA at the Stadeschule in Frankfurt with professor Amy Silman in 2020, Louise Giovanelli has since exhibited all over the world, including at Grimm Gallery, the Hayward Gallery's Mixing it Up, Manchester Art Gallery, and more recently, at White Cube in London. Giovanelli's paintings are theatrical and stage-like. She creates a language that feels like a heightened version of reality that looks to renaissance painting and film stills and encompasses photography, classical sculpture, architecture and painting. They feel almost too good to be true, full of mystery and enigma. As the artist has said herself – ‘These curtains, once thrown back, offer this promise to enter another realm – and once closed, contain that promise. The painting hangs in a suspended state, leaving us wondering whether the show is over, or in fact just beginning.' -- ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Research assistant: Viva Ruggi Sound editing by Nada Smiljanic Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ -- THIS EPISODE IS GENEROUSLY SUPPORTED BY CHRISTIES: www.christies.com

A conversation with artist Ilana Savdie. Ilana makes brightly-colored, large-scale paintings and drawings that are obviously abstract while concealing figurative forms that explore topics of identity, power-dynamics and the imperfection of the human body as a vessel. In the discussion, Ilana shares insights on her creative process, the influence of her childhood in Baranquilla, Colombia, her unique use of materials and her current show at White Cube in London.https://whitecube.com/exhibitions/exhibition/Ilana_Savdie_White_Cube_Bermondsey

In a conversation with artist Ilana Savide - her first show 'In Jest' is on at white Cube Bermondsey until 11th September. https://whitecube.com/exhibitions/exhibition/Ilana_Savdie_White_Cube_Bermondsey Hosted on Acast. See acast.com/privacy for more information.

The first of two conversations from White Cube, Bermondsey. In this episode Louise Giovanelli gives Maeve a guided tour of her show, As If, Almost, which runs until 11 September 2022.https://whitecube.com/exhibitions/exhibition/Louise_Giovanelli_White_Cube_Bermondsey Hosted on Acast. See acast.com/privacy for more information.

We meet leading artist Elad Lassry (b. Tel Aviv, 1977) who defines his practice as consumed with “pictures”—generic images culled from vintage picture magazines and film archives. Tapping the visual culture of still and motion pictures, he engages traditions of story-building with images and the ghosts of history that persist in images long after they have been lifted out of their original contexts. Elad Lassry creates or rediscovers images from a vast array of sources, redeploying them in a variety of media, including photography, film, drawing and sculpture. Despite the diversity of his approach, Lassry has developed one of the most distinctive visual idioms in contemporary art and a rigorously focussed practice that investigates the nature of our perception and the meaning of the contemporary image. Lassry describes his 'pictures', which are all exactly the same scale, as ‘something that's suspended between a sculpture and an image'. The artist achieves this through a play of virtual and actual space. The image in each picture proposes a virtual space, while the frame, which is not a supplement to the image but an extension of it, carves out an actual space for the object to occupy. The images might be found – anything from a magazine snapshot to a Hollywood headshot – or photographed in studio conditions that reflect many of the concerns of traditional still life. Lassry then deploys the image as an ambiguous, free-floating signifier, which combines with the frame to create a new set of conditions. This hybrid entity becomes a kind of epistemological puzzle, engaging the viewer's perceptual faculties. How does its objecthood affect our reading of the image? How does the subject matter of the image affect our perception of the object? This disruptive play between image and object extends into his film and sculpture. In the 16mm film Zebra and Woman, the camera begins at the animal's tail before panning across its striped hide, examining the nuances of colour and form as if it were a mid-century abstraction. Passing the animal's head, the viewer is plunged, briefly, into blackness before the incongruous appearance of an attractive woman again dislocates the pictorial space. This set of conditions is typical of the artist's concerns: close-looking, the indistinct space between abstraction and figuration, the combination of flatness and depth, all combining to examine how the mind reacts to different visual stimuli. Lassry brings this set of concerns to bear on a body of sculptural work based on cabinets that further explore a range of perceptual paradoxes. Produced on a scale that reflects the unchanging dimensions of his pictures, the cabinets look both utilitarian and ornamental, both a functional object and its representation. Lassry lives & works in Los Angeles. He has exhibited internationally including solo shows at San Francisco Museum of Modern Art, California (2020); Le Plateau, Paris (2018); Vancouver Art Gallery, Canada (2017); Museum Boijmans Van Beuningen, Rotterdam (2014); Kunstnernes Hus, Oslo (2012) and Kunsthalle Zurich, Switzerland (2010).Follow Elad's galleries: @MassimoDeCarlo, @GalerieFrancescaPia, @WhiteCube & @303Gallery.Special thanks to Francesca Sabatini at Massimo de Carlo. See acast.com/privacy for privacy and opt-out information.

Margaux Williamson is an artist from Toronto, born in Pittsburgh. Her first book of paintings, I Could See Everything (Coach House Books) accompanied shows at Frith Street Gallery in London, and Mulherin+Pollard in New York. Her full-length movie, Teenager Hamlet, premiered at the Toronto International Film Festival, and now lives on UbuWeb. And a YouTube video she made in collaboration with the band Tomboyfriend, dancing to the end of poverty, was praised by Playground Magazine in Madrid as "Finally, a generation using YouTube the way God intended",  Her text projects, including How to Act in Real Life, have been commissioned by museums, festivals and anthologies. Her work has been covered by Frieze, the New York Times, Canadian Art, Vogue, The Believer, and  elsewhere. She has been artist-in-residence at MacDowell in New Hampshire, the Art Gallery of Ontario in Toronto and the Klondike Institute in the Yukon. Her most recent work was an on-line show with White Cube, March 2021. Branches / 63 x 90 in / 160 x 228.6 cm / 2021 / oil on canvas Table and Chair / 160x228 cm (63x90in)/ oil on canvas / 2016

We're entering the SECOND year of The White Pube Writers Grant if you can believe it. We are very pleased to announce that the 13th recipient is fellow art critic Andy Grace Hayes. Writing from Glasgow, his substack Another Gay Handout brings together exhibition reviews, book reviews, and essays on aesthetics and the climate. We haven't been able to run around Scotland's many different art scenes in a long, long time but reading Andy's reviews felt like the light, piercing criticism and gossip that comes of visiting exhibitions with clever friends. We very much support that, and we're subscribed to the mailing list so looking forward to reading more. We hope you enjoy it too! Bio: Andy Grace Hayes is a Scottish writer living in Glasgow. He writes exhibition reviews and records video essays that engage with local work, queer art, terrible art, and mass media. Hayes writes to be confrontational and to flirt. He aims to create an archive of gossip, institutional criticism, and off-the-cuff diatribes. You can find links to Andy's work on the Writers Grant page: both the two text reviews that he reads in this podcast ep (Carpeted Bathroom, an Exhibition Review of ‘Sex Club' AND! A Dumpster Fire and ‘Dampbusters') as well as 2 video essays: Pleasure Park and the Legacy of Tom of Finland, and The Aesthetics of Calm: Whitecubing in the White Cube. You can also find Andy on Twitter & Instagram. If you're a working class writer, and would like to find out more info about our Writers Grant, pls visit the Writers Grant page on our webby for the FAQs and submission info! Thank you to Creative Debuts for funding the grant and allowing us to support working class writers in this way :)

Í síðustu viku ræddi Lára Herborg Ólafsdóttir lögfræðingur við okkur um reglugerðardrög evrópusambandsins um gervigreind og þau tækifæri og hindranir sem felast í að setja skorður á sköpun hennar. Í dag segir hún okkur frá einni hindruninni, álitamálum um höfundarrétt þar sem mögulegur höfundarréttur apa gæti verið fordæmisgefandi. Melkorka Gunborg Briansdóttir mun flytja okkur pistla hér í Lestinni næstu mánudaga og pistli sínum í dag frá óvenjulegu skiptinámi í London á tímum heimsfaraldurs, mannlausar götur og súrrealískar messur koma meðal annars við sögu. Við heyrum líka um nýja kvikmynd hollenska listamannsins og pólitísku broddflugunnar Renzo Martens, mynd sem nefnist White Cube, en þar gerir hann tilraun til að tengja saman tvo gjörólíka en þó tengda heima, pálmaolíuplantekrur stórfyrirtækisins Unilever í einu fátækasta ríki heims, og listasöfn í stórborgum Evrópu sem eru styrkt af þessu sama stórfyrirtæki. En við ætlum að byrja á djamminu. Síðasti þáttur Lestarinnar, nú á fimmtudag var tileinkaður djamminu. Við ræddum næturhagkerfið, röktum sögu djammtónlistar og kíktum á röltið um hinsegin skemmtistaðasögu Reykjavíkur með Guðjóni Ragnari Jónssyni. Þegar við settumst niður, fótalúin eftir labbið, rákumst við á annan einstakling með sterk tengsl við samtíma sögu hinsegin djammsins. Hún er þáttastjórnandi á KissFM, hún er rappari og meðlimur Reykjavíkurdætra og hún rak til skamms tíma, hinsegin skemmtistað.

When you walk into a contemporary art gallery, does the background distract you while you contemplate the artworks? Because if the answer is no, then you have probably walked into a white cube. Today, the chART squad will take a look at the most established design for a gallery ever since the early 20 th century. The first recorded use of white framing in order to remove background distractions at an art gallery was by American painter James Abbot McNeill Whistler in his 1883 show at London's Fine Art Society. However, Bauhaus and the Stijl were the first movements to widely demand it in order for their works to stand out. Ever since, the white cube has sparked a long lasting debate about how should art be displayed. Do the white walls and discrete lighting enhance the power of an artwork, or is this neutrality an illusion caused by a modernist obsession to seek objectivity where it cannot be found? Tune into this episode to find out what we think about it!   Make sure to follow us on our socials! INSTAGRAM: https://www.instagram.com/chartpodcast/ TWITTER: https://twitter.com/ChartPodcast   Here you can see on which different platforms you can listen to our podcasts! https://pod.link/1517293067   That's it for now! Hope to see you again in our next episode!   chART out! (Love you, bye)