Podcasts about Wimbledon College

In April 2025, a herd of animals will travel from Central Africa to the northern tip of Norway—drawing attention to climate change. Forced out of their natural habitats due to global warming, they will be displaced and traversed through cities and urban environments to meet the people there. But they won't be real animals—they are puppets. Along the route, animals native to the countries they are traveling through will join the group, meaning that by the time they get to Norway, they will have assembled around 150 animal puppets. Amir Nizar Zuabi is the artistic director of the project called The Herds. "I don't know if what we add to the conversation will change the world. Most probably it won't. Doesn't matter. It's worth trying. But the idea of creating a project that deals with climate change from an emotional stance, from a sensory experience and not from, 'This is the science." And while the herd of puppets won't set off on the 20,000-km (12,427-mile) route until next spring, the teams behind the project are busy now working on the logistics of this series of traveling theatrical events. Students at Wimbledon College of Art (part of the University of the Arts London) have been helping to construct the first animals in recycled materials like metal and cardboard. "It's been really interesting to use cardboard as material, and trying to find ways to strengthen it that still keeps it within its kind of recyclable image." After that, it's time for the puppeteer and performance arts students to learn how to move the animals. Zuabi is also happy for The Herds project to be used by advocacy groups who are on the frontlines of climate change campaigns. "These projects, in a way, are our attempt to become useful," he says. "The way these projects work is we create a very, very thick layer of partnerships in each place: climate activists, climate organizations, arts organizations, civic society. So we try and create an ecosystem, for lack of a better word." This article was provided by The Associated Press.

Of her work, British artist Lubaina Himid says she is "filling in the gaps of history." Danielle Radojcin travels to The Holburne Museum in Bath to meet her at her new exhibition, Lost Threads, which, like much of her work, addresses the histories and legacies of colonialism and slavery.Himid turns 70 this year. She was born in Zanzibar, but after her father tragically died of malaria when she was just a few months old, her British mother took her to live in the UK, where they settled in London. She eventually studied Theatre Design at Wimbledon College of Art, and the Royal College of Art. Over the course of her career, Himid has aimed to make art that creates a dialogue with her audience - she has said how the patterns in her work are a form of narrative; she has also made a point of championing under-represented artists, especially Black and Asian women. She became a key figure in the 1980s London, “Black art” movement, in which so called black art moved from the margins to the centre of British culture thanks in part to a series of influential exhibitions Himid curated. She was the first Black woman to win the Turner Prize, which she was awarded in 2017, and was elected to the Royal Academy in 2018, the same year she was made a CBE for services to art. Today, she  lives and works in Preston, where she is a professor at the University of Central Lancashire. Himid sat down with me at the Holburne in the midst of the press preview of her new exhibition, in one of the main, very large rooms there, to tell me a bit about her work… Episode artwork: Lubaina Himid, Man in a Pyjama Drawer, 2021 via Hollybush Gardens https://paulineboty.org/Gazelli Art Housemonomediafilms.london

This week, I have a beautiful artist on the Pod. Carmen Ceniga Prado uses her work as a medium to reconnect with the internal body and its cycles of subtle shapeshifting. Through abstract painting and carved wooden sculptures, her works grapple with the invisible but potent pulses of vitality that move through and around us. Using the body as a starting point, the pieces are a reflection of the range of emotional states or embodied sensations, such as darkness, clarity, anxiety as well as the moments in between.  Carmen started her studies in Fine Arts at Pratt Institute in New York in 2015 (supported by their International Merit Scholarship), before finishing her Bachelor of Fine Arts at Wimbledon College of Arts at the University of the Arts London in 2018. Recent notable shows include Rationale for Fables (Singapore, 2023), New Makers at Atta Gallery (Bangkok, 2023), Entre Aguas at Aldama Fabre Gallery (Bilbao, 2022), and At Dusk, We Tread the Earth at starch (Singapore, 2022). Episode highlights: Art as a means of embodiment of internal body experiences Life as an endless spiral, and what that means for Carmen Carmen's shift from physical practice to her mindfulness journey, and how she relays her internal observation through her art-making Experiences as abstract The impact of AI on modern day art Art therapy and what it's all about SUPPORT THE PODCAST ON PATREON Get in touch with Stephanie: www.listeningwellpodcast.com | @listeningwellpodcast Thank you for Listening Well!See omnystudio.com/listener for privacy information.

Pia studied costume design at the Wimbledon College of Art and Design, which is part of the University of the Arts London, where she learnt a wide variety of skills including millinery, wiggery, pattern cutting and much more. She also gained a range of technical skills in machine sewing.Since graduating she has worked her way up from a costumer at Chessington World of Adventures to working as assistant wardrobe mistress on a wide variety of productions as Othello, Much Ado About Nothing, Feydra, Small Island and Ocean at the End of the Lane at theatres including The National and the Duke of York theatre.Pia is currently Wardrobe Mistress on the production of The Third Man at the Menier Chocolate Factory.

As time ticks away to BCC's Net Zero by 2030 target we caught up with Rob Nield - leader of the Webb Yates Engineers Midlands office and chartered structural engineer – to talk about his approach to lowering embodied (or upfront) carbon which can be responsible for a significant portion of a building's carbon life cycle.We talked about their current portfolio and plans in the region, their approach to design and sustainability and how they are using innovative material systems coupled with extensive research and development to challenge the status quo in contemporary building design. The Building Brum podcast is sponsored by reality capture and point cloud modeling specialists ScanTech Digital,  Solus, one of the UK's leading suppliers of commercial floor and wall tiles and Sunbelt Rentals with over 1,000,000 items of equipment- they are the largest providers of equipment hire in the UK.Rob Nield, Associate Director - MEng (Hons) CEng MIStructE Rob is a Chartered Structural Engineer with over 17 years of experience on a wide range of projects, both in the UK and internationally. During this time, he has successfully led a number of multidisciplinary teams to deliver innovative and sustainable project solutions. His design experience covers structural steelwork, reinforced concrete, timber, masonry, glass, and post-tensioned stone.Starting his career at Arup in 2005 Rob joined Webb Yates Engineers' London office in 2012 delivering projects including Barrett's Grove – a Stirling Prize shortlisted residential development in Stoke Newington with a cross laminated timber structure; and Wimbledon College of Art – one of the first Timber Concrete Composite structures in the UK and winner of numerous sustainability awards.Relocating to the Midlands in 2015 he returned to Arup to deliver regionally significant projects including the design of HS2 Interchange Station in Solihull with it's organic timber roof, and One Centenary Way an innovative 16 storey exoskeleton building suspended over the Queensway tunnel.Rob rejoined Webb Yates Engineers in 2020 to lead the Midlands office and currently manages a varied portfolio of exciting projects across the UK and abroad.Having worked with numerous leading architects his expertise lies in the production of efficient, elegant and low carbon structural solutions as part of an overall holistic design. An in-depth understanding of the design process, ability to visually communicate high level ideas and fine attention to detail during the construction stage has led to Rob's track record in successfully delivering high quality and award winning projects.

In this episode Lorna speaks to Tracey Waller Head of Programme of the Visual Communication MA at The RCA and before that she was the Programme Director of Graphic Design at Camberwell, Chelsea & Wimbledon College of Art. Lorna talked to Tracey about interpretation of creative work, process stages and Tracey's own journey with neurodiversity. Follow updates from us on Instagram. Our Creators: LORNA ALLAN INSTA: @lornaallanad & @hwodesign TWITTER: @hwodesign WEB: https://www.lornaallan.com/ JHINUK SARKAR INSTA: @paperfig TWITTER: @paperfig WEB: https://paperfigillustration.com/ Our Narrator: SAZZIE KLUVITSE INSTA: @sazziewho TWITTER: @BiBiVirtue Our Editor: ADE BAMGBALA TWITTER: @Blacticulate Our Producer: CARRIE MORRISON INSTA: @carriejmo TWITTER: @carriejomo https://carriemorrison.co.uk/ Our Contributors: TRACEY WALLER from ROYAL COLLEGE OF ART (RCA) INSTA: @hellotraceywaller

Tilda Lewis has a longstanding fascination with historical costume design and creation, having studied at Wimbledon College of Arts. Especially passionate about eighteenth century women's hats and bonnets, Tilda talks to me about the role of ‘trimming' at that time, and the subtleties of hat-wearing then and now. 

Ever wandered what the creative process is behind the films, tv shows and theatre productions you watch? Well, Crew Chats is a podcast going behind the scenes and chatting to the crew that help make these productions. Episode 47's guest is Natalie Pryce, Natalie after having a childhood love of theatre, went onto study theatre design at Wimbledon College of Art. Whilst studying and on graduating Natalie worked at the New Wimbledon theatre and then went onto to work as a dresser at the ENO. It was after working at the National Theatre, that Natalie began producing her own work and began working as a freelance set and costume designer for theatre and dance. Natalie has costume designed, Anna X at the Harold Pinter and most recently, ‘A Number' at the Old Vic ‘Old Bridge' at the Bush Theatre, set and costume designed ‘Red Velvet' for RADA and ‘Me for the World' at the Young Vic to name a few. Just a note we speak about covid and the situation referred to was the case at the time of recording. Natalie's recommendations: -War Horse theatre production -Bridgerton -100 years of Solitude by Gabriel Garcia Marquez

My guest for today is Joshua Dobrik. Joshua is the first friend I made in London and we went to Newham College together. He continued to do an apprenticeship at Edward Sexton then moved on to Huntsman, after which he set up his own company called Dobrik & Lawton. Josh is currently teaching at Wimbledon College of Arts. During our conversation we will talk about his journey from college to all the tailoring houses, the sectional system in tailoring, the client-tailor relationship, opportunities provided by tailoring companies, the purpose of tailoring, and more. I hope that our conversation will be as insightful for you as it has been for me!

Russell and Robert meet British artist Charmaine Watkiss to explore the themes and inspirations behind her first solo exhibition at Tiwani Contemporary in London. The Seed Keepers (2021) is a new series of drawings that fuse Watkiss' interests in botany, herbalism, ecology, history, and Afrofuturism. Researching the medicinal and psychical capabilities of plants, Watkiss has personified a matrilineal pantheon of plant warriors safeguarding and facilitating cross-generational knowledge and empowerment. The show consists of a body of entirely new works on paper and explores the use of full colour - a first for Watkiss. The drawings of women in luminal spaces along with her ‘plant warriors' have a mystical quality which exist outside our linear time and space. The natural world is at the forefront of most of our imaginations right now; and this show explores narratives around ancient plant knowledge and its relationship to women of African descent. Charmaine Watkiss' practice addresses themes including diaspora, ritual, tradition, ancestry, and cosmology. In the past, she has explored the usage of blue stemming from her research into the long history of indigo including its production on the plantations of colonial America and Caribbean and sacred use in ancient African cultures, particularly with reference to the funerary rites, spiritual beliefs, and cosmologies of West African and ancient Egyptian cultures. She draws connections between ancient tradition, knowledge, and our lives - asking what role ritual and its practice plays in contemporary experience. Charmaine Watkiss lives and works in London. She holds a MA in Drawing, from UAL Wimbledon College of Art (2018). Recent exhibitions include RA Summer Exhibition, Royal Academy of Arts, London (2021); To the Edge of Time, KU Leuven Libraries, Belgium (2021); Breakfast Under The Tree, Carl Freedman Gallery, Margate (2021); Me, Myself and I, Collyer Bristow Gallery (2020); Trinity Buoy Wharf Drawing Prize (2019), Wimbledon College of Art MA Degree Show (2018); Against Static (Curated by Tania Kovats), Wimbledon Space (2018).Follow @MsWatkiss on Instagram and her website https://charmainewatkiss.com/ Visit the gallery on Instagram too at @TiwaniContemporary. Charmaine's new exhibition 'The Seed Keepers' runs til 5th December 2021. View images at Tiwani Contemporary's official website: https://www.tiwani.co.uk/exhibitions/64-charmaine-watkiss-the-seed-keepers/overview/For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

In episode 75 of The Great Women Artists Podcast, Katy Hessel interviews one of the most exciting young painters working today, Kudzanai-Violet Hwami !!!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] Born in Zimbabwe and raised between there, South Africa, and the UK, Hwami is fast becoming one of the leading artists of her generation. Having received her BA from Wimbledon College of Arts, where she was shortlisted for the Bloomberg New Contemporaries, among many other prizes; this year, Hwami completed an MFA at the Ruskin School of Art at Oxford University. In 2019, she represented her country of birth at the 58th Venice Biennale alongside three artists, and in the same year had her first institutional solo show at Gasworks in London called (15,952km) via Trans – Sahara Highway N1. Rich in colour, subject, and scale, Hwami's exuberant and vivid paintings of self-portraits and her extended family draw on the artist's autobiographical history. Sourced from images ranging from the internet to family photo albums, they explore representations of the black body, along with notions of sexuality, gender and spirituality. Experimenting with photography and digitally collaged images, and often incorporating other media such as silkscreen, pastel or charcoal, Hwami's bold painting's offer an insight into a deeply personal world, whilst also appearing universal and familiar; the artist has said, ‘with the collapsing of geography and time and space, no longer am I confined in a singular society but simultaneously I am experiencing Zimbabwe and South Africa and the UK, in my mind. I'm in the UK, but I carry those places with me everywhere I go.' But the reason why we are speaking with Kudzanai-Violet today is because she is currently the subject of and featured in two of my favourite exhibitions up in London right now: the Hayward Gallery's painting show “Mixing it Up” and her solo exhibition, “when you need letters for your skin” at Victoria Miro Gallery, a show i found utterly spellbinding with its poignant, personal and raw paintings -- painting she describes as “visual letters”. https://www.victoria-miro.com/artists/240-kudzanai-violet-hwami/ https://www.gasworks.org.uk/exhibitions/kudzanai-violet-hwami-2019-09-19/ https://www.instagram.com/mwana.wevhu/?hl=en LISTEN NOW + ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Research assistant: Viva Ruggi Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

#AntiRacismInAction: Higher Education with Oliver Young, Charles Egbu and David Mba Episode 3 of 9 BFELG Livestreams #AntiRacismInAction - Making the Most of an Ethnically Diverse Britain, co-produced by BFELG and FE News, was aired today Monday 18th October.The Episode, #AntiRacismInAction: Higher Education, was special in that it featured Professor Charles Egbu and Professor David Mba, two eminent academicians who are *Black and who are leaders of Higher Education institutions in the UK. Black Vice-Chancellors and Black Deputy Vice-Chancellors are very few and far between in UK Higher Education.Professor Egbu is Vice Chancellor, Leeds Trinity University. Appointed in 2020, he is the first UK university Vice-Chancellor of African heritage. Professor David Mba is the Deputy Vice-Chancellor, Research, Knowledge Exchange and Enterprise, University of the Arts (UAL), London.In a sector where 25% of students are from Black communities, sadly, only 2.9% of university Vice-Chancellors/Principals (7 of 238) are Black. This situation is even worse than in Further Education where 8.1% (19 of 234) of college CEOs/Principals and 30% of students are Black. Very few board Chairs are from Black communities in both sectors and hardly will one find a Black leader in the senior hierarchy of regulatory bodies and organisations that provide both sectors with support. Black students are less likely to gain a place in high tariff universities or achieve a first or 2:1 degree. This cannot be right.Introducing the Episode and the Guests, Oliver Young, Chief Diversity Officer, University of Exeter Business School, and a member of the BFELG stated unequivocally: ‘Anti- racism is the only way to cohesively advance our ambitions as a diverse and representative society. Anti-racism is a challenge we all need to take collective responsibility for, and address for our future generations.'Racial inequalities are a significant issue in higher education. This was identified as one of five fundamental guiding principles of Advance HE's Race Equality Charter (REC), formally launched in 2016. The Charter aims to improve the representation, progression and success of Black staff and students withing higher education.In 2019, the Equality and Human Rights Commission (EHRC) Report, ‘Tackling racial harassment: universities challenged' uncovered ‘widespread evidence' of racial harassment on university campuses and in November 2020 Universities UK (UUK) published guidance on tackling racial harassment in higher education. The guidance acknowledges that the higher education sector cannot reach its full potential unless it benefits from the talents of the whole population, and individuals from all ethnic backgrounds can benefit from the opportunities it provides. Importantly, the guidance acknowledges that racial harassment is just one manifestation of structural racism in higher education and points out that a wider programme of culture and policy reform is needed to tackle racism and racial inequalities of all forms.There are currently about 79 institutional REC members, 17 of which are award holders. A recent independent evaluation (March 2021) of the REC identified the need for greater strategic senior manager and institutional buy-in for race equality.Against this background, co-anchors Gavin O'Meara (CEO and Head of Digital, FE News) and Robin Landman OBE, and BFELG Executive Member, were in conversation with the featured Guests, exploring the particular Race Equality opportunities and challenges for the HE sector and their individual organisations and the specific HE system leadership actions necessary to make tangible and rapid progress.David touched on his links with the BFELG and highlighted UAL's Anti-racist Strategy. UAL is a collegiate university, specialising in arts, design, fashion and the performing arts. It is a federation of six arts colleges: Camberwell College of Arts, Central Saint Martins, Chelsea College of Arts, the London College of Communication, the London College of Fashion, and the Wimbledon College of Arts. UAL is also Europe's largest specialist art and design university and the world's second best university for Art and Design in the QS World University Ranking 2019 .Charles highlighted a specific initiative by Leeds Trinity University to address racial inequalities. The University has recently launched its Strategic Plan 2021-2026 which is built around the four strategic pillars of ‘Education and Experience', People and Sustainability', ‘Research, Impact and Innovation', and Careers and Enterprise' supported by the two key themes of Digital Futures and the Leeds City Region. Promotion of the principles of dignity, respect, social justice, equality, and inclusion to support each and every person in the University community is a stated important part of the Strategic Plan. The University's mission is rooted in its Catholic foundation and Leeds Trinity welcomes students from all backgrounds and beliefs.* 'Black' is used as an inclusive definition to refer to people from ethnically diverse backgrounds who share a lived experience of the effects of racism.

In this episode of “Keen On”, Andrew is joined by Philip Stephens, the author of “Britain Alone: The Path from Suez to Brexit”, to tell the story of a nation struggling to reconcile its waning power with past glory. Philip Stephens is associate editor of the Financial Times and director of the editorial board. As chief political commentator he writes on global and British affairs. He joined the Financial Times in 1983 after working as a correspondent for Reuters in Brussels and has been the FT's economics editor, political editor and editor of the UK edition. He was educated at Wimbledon College and at Oxford university. He won the David Watt Prize for Outstanding Political Journalism; Political Journalist of the Year by the UK Political Studies Association; and Political Journalist of the Year in the British Press Awards. Visit our website: https://lithub.com/story-type/keen-on/ Email Andrew: a.keen@me.com Watch the show live on Twitter: https://twitter.com/ajkeen Watch the show live on LinkedIn: https://www.linkedin.com/in/ankeen/ Watch the show live on Facebook: https://www.facebook.com/lithub Watch the show on YouTube: https://www.youtube.com/c/LiteraryHub/videos Subscribe to Andrew's newsletter: https://andrew2ec.substack.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Part 2: For this episode I caught up with Jess Totten a Wimbledon College of the Arts graduate who specialised in Costume Design. We discuss her transition from an Arts and Design Foundation to a Costume Design degree, and what it is like working within the film and theatre industry. Questions, sponsorships and guest suggestions? Send me an email at iwenttofashionschoolpodcast@gmail.com. Subscribe to our newsletter for more tips, stories and personal recounts of the fashion design process: http://eepurl.com/hc95LL Follow us on Instagram: @iwenttofashionschoolpodcast Check Out Jess on Instagram: @jess_totten Jess' Graduate Showcase: https://graduateshowcase.arts.ac.uk/projects/4776/textile-artist-within-costume-jess-totten/cover --- Send in a voice message: https://anchor.fm/iwenttofashionschoolpod/message

For this episode I caught up with Jess Totten a Wimbledon College of the Arts graduate who specialised in Costume Design. We discuss her transition from an Arts and Design Foundation to a Costume Design degree, and what it is like working within the film and theatre industry. Questions, sponsorships and guest suggestions? Send me an email at iwenttofashionschoolpodcast@gmail.com. Subscribe to our newsletter for more tips, stories and personal recounts of the fashion design process: http://eepurl.com/hc95LL Follow us on Instagram: @iwenttofashionschoolpodcast Check Out Jess on Instagram: @jess_totten Jess' Graduate Showcase: https://graduateshowcase.arts.ac.uk/projects/4776/textile-artist-within-costume-jess-totten/cover --- Send in a voice message: https://anchor.fm/iwenttofashionschoolpod/message

Russell and Robert meet Lubaina Himid CBE, the Turner Prize winning artist and cultural activist. Born in Zanzibar in 1954, Lubaina Himid is a British painter who has dedicated her four-decades-long career to uncovering marginalised and silenced histories, figures, and cultural expressions. She studied Theatre Design at Wimbledon College of Art and went on to receive an MA in Cultural History from the Royal College of Art. Himid currently lives and works in Preston, UK, and is a professor at the University of Central Lancashire. In Autumn 2021, Himid will present a major monographic exhibition at Tate Modern, London and will also have a solo exhibition at Hollybush Gardens gallery in London.We discuss her influential career in art as artist but also as a mentor and champion of other artist's work. Initially trained in theatre design, Himid is known for her innovative approaches to painting and to social engagement. She has been pivotal in the UK since the 1980s for her contributions to the British Black arts movement, making space for the expression and recognition of Black experience and women’s creativity. Over the last decade, she has earned international recognition for her figurative paintings, which explore overlooked and invisible aspects of history and of contemporary everyday life. In 2017, she was the winner of the Turner Prize and in 2018 she was bestowed with the honorary title of CBE for her contributions to the arts.Current exhibitions include Risquons-Tout, WIELS, Contemporary Art Centre, Brussels. Significant solo exhibitions include Spotlights, Tate Britain, London (2019); The Grab Test, Frans Hals Museum, Haarlem, The Netherlands (2019); Lubaina Himid, CAPC Bordeaux, France (2019); Work From Underneath, New Museum, New York (2019); Gifts to Kings, MRAC Languedoc Roussillon Midi-Pyrénées, Sérignan (2018); Our Kisses are Petals, BALTIC Centre for Contemporary Art, Gateshead (2018); The Truth Is Never Watertight, Badischer Kunstverein, Karlsruhe (2017); Navigation Charts, Spike Island, Bristol (2017); and Invisible Strategies, Modern Art Oxford (2017).Her work is held in various museum and public collections, including Tate; British Council Collection; Arts Council Collection; UK Government Art Collection; Museum Ludwig, Cologne; Victoria & Albert Museum, London; National Museums Liverpool; Whitworth Art Gallery, Manchester; Hammer Museum, Los Angeles; and Rhode Island School of Design, Providence. A monograph, titled Lubaina Himid: Workshop Manual, was released in 2019 from Koenig Books.Special thanks to Lubaina for this enlightening interview, and Lisa Panting & Malin Ståhl of incredible gallery Hollybush Gardens (based in Clerkenwell, London). Follow @LubainaPics and @Hollybush_Gardens on Instagram and their official websites https://lubainahimid.uk/ and https://hollybushgardens.co.uk/For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of... See acast.com/privacy for privacy and opt-out information.

JEFF BECK GUITAR EARLY YEARS 1966- 1968 Today’s show is JEFF BECK GUITAR EARLY YEARS -- PART 1 In this VINYL VIBRATIONS episode, I tour early vinyl records that showcase ENGLISH ROCK and FUSION GUITARIST GREAT … JEFF BECK. The recordings presented in this podcast are a compilation from my own LP and Singles collection.  Today - we will review six songs from Jeff Beck’s early years, 1966 – 1968: SHAPES OF THINGS - The Yardbirds (single) OVER UNDER SIDEWAYS DOWN - The Yardbirds (single) BECK’S BOLERO – Jeff Beck (single) GREENSLEEVES – Jeff Beck Group (TRUTH LP) SHAPES OF THINGS - Jeff Beck Group (TRUTH LP) MORNING DEW – Jeff Beck Group (TRUTH LP) Jeff Beck achieved notoriety in the mid 1960’s, through the music of The Yardbirds and their hit song “Shapes of Things”.  He had been working actively as a musician since the age of 19, during the time he was attending college at what is now called the Wimbledon College of Art in London. That college specializes in theatre, screen, and performance art. That’s 1963. Just five years later, Beck had launched three singles and his debut LP album, TRUTH.­­­

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

In this episode, we are in conversation with the young British figurative artist Molly Brocklehurst who is based in South London. Molly graduated with a Masters in Fine Art from Wimbledon College of Arts in 2019 winning the Wimbledon Alumni Professional Award and was a finalist in the 2020 Signature Art Prize.She hit the British art scene in brilliant fashion last year being named as one of Saatchi Arts Rising Stars of 2019 and exhibiting in February 2020 in the Maddox Gallery in Mayfair, London.We are all about supporting fresh, talented, international female artists at the Nordic Art Agency and Molly is an exciting artist to watch.In the podcast, Molly discussed the historical and nostalgic utopia depictions explored in her work as she gives new life to images uncovered in old black and white photographs discovered in flea markets or antique fairs. Rituals and ceremonies, costume and theatre also play a role in her striking muted pastel-painted canvases.We are currently featuring two of Molly's paintings in our HANSA LOVES ART International Art Pop Up until July 25th 2020. Both works, Intrusion and Colony, are featured in our current digital exhibition catalogue and on our website.Molly's painting has already been featured in the Wing's Private Collection in London and we are delighted to represent her in Scandinavia exclusively. We will also be featuring new work later this year in our group exhibition FACES which will take place in the Nordic Art Agency Gallery in Malmö in October.You can discover more about Molly Brocklehurst by visiting her website and do also follow her on Instagram.Enjoy!

Ever wandered what the creative process is behind the films, tv shows and theatre productions you watch? Well, crew chats is a new podcast going behind the scenes and chatting to the crew that help make these productions. Sammy Sheldon Differ knew she wanted to be a costume designer ever since she was a child and began her career at the Royal Exchange Theatre in Manchester as a costume maker and dresser and went onto study Costume Design at the Wimbledon College of Art. After graduating, Sammy went on to designing music videos and commercials before becoming an assistant designer on films such as The Gladiator. Sammy went onto be a costume designer for many well-known films including, The Imitation Game, for which she was nominated for a BAFTA, Ant-Man, Jurassic World: Fallen Kingdom and more recently Artemis Fowl and the upcoming Marvel film The Eternals. Sammy's Reccommendations: -Blade Runner -Star Wars: A New Hope -Hypernormlisation Documentary

My guest on this episode is Deborah Whitney an artist with degrees from Mass College of Art, Boston, BFA, and Wimbledon College of Art, London, MABut I know her as an astute and focused crew mate a fellow museum laborer, a guiding spirit and a friend. She shares with me the healthy attitude of an artist, and what it was like to be a woman in the art handling biz in the 80s-2010s.http://www.deborahwhitney.com/

In February 2020, 74 universities affiliated to the UCU (University and College Union) began 14 days of industrial action, launching ‘Four Fights’ over casualisation of labour, unsafe workloads, falling pay, and gender and ethnicity pay gaps. The strikes became national news, supported by staff and students alike, with vibrant picket lines at many “art schools” across the country speaking out against exorbitant tuition fees, massive pay gaps between vice chancellors and lecturers, the punitive and racist Prevent programme introduced to stop student ‘radicalisation’, the digitalisation of courses and much more. Juliet Jacques – herself a visiting lecturer at the Royal College of Art, where 90% of staff are casualised – spoke to artist and researcher Dr Annie Goh, a lecturer in Fine Art at Central Saint Martins and an Associate Lecturer in Sound Arts at London College of Communication, and Kyran Joughin, lecturer in film and critical practice at Wimbledon College of Art (part of the University of the Arts London) about the recent strikes, how the coronavirus crisis might lead to further digitalisation and casualisation, and how staff and students might organise against it. They also discussed the legacy of Thatcher’s assault on the idea of cultural democracy, the marketisation of education and privatisation of knowledge under the New Labour government, and the student protests after the Liberal Democrats broke their promise to abolish tuition fees on joining the Conservative-led coalition in 2010. As usual, a full list of references from this episode is available to subscribers – please visit https://www.patreon.com/suite212 to sign up for as little as $3 per month.

In his beautiful atelier we discussed: Screen printing, Printmakers, Printmaking, The trend toward specificity and precise titles and descriptions, Working in editions, Cyanotypes, Making art is a passion, Art as a language, p contemporary (Gallery Michaela Seif), Printing an entire tree, Art fairs, Artist statements, The process is not the art, Artist residencies, The need for constructive feedback, An artist statement is an extension of the visual work, Erasmus Programme / study abroad / exchange students, Working collaboratively, Artists needing to store their artwork, Storage needs, and Integrating technology. http://www.michaelwegerer.net https://www.quintscreenprint.com   Michael Wegerer (*1970 in Austria) works with extended methods of printmaking, drawing, sculpture and installations. His work is an ongoing media-reflexive exploration of cultural and historical perceptions of images and data as well as the interweaving of visual media. The starting point are socio-cultural themes, collaged from newspaper clippings and statistics, which he has been collecting for several years in an archive created especially for this occasion. In the course of several international working periods in Great Britain, Ireland, Australia, Sweden and China, he has been developing experimental and versatile screen-printing techniques since 2006. In addition to his national and international exhibition activities, he is also dedicated to the design of glass and façade elements within the framework of Kunst am Bau projects. Education: In 2008, Wegerer graduated with distinction from the University of Applied Arts in Fine and Media Arts. After completing his Master's degree (2009-2011) in Fine Art Practice at the Royal College of Art in London, Wegerer taught as a guest lecturer at RMIT University, Monash University, Charles Darwin University in Australia, Manchester University and at Wimbledon College of Arts in London, Webster University St.Luis, and was a lecturer at the International Summer Academy in Salzburg and at the "Graphische" in Vienna. 2020-2023 Wegerer is an external examiner at the National College of Art and Design in Dublin, Ireland.   Please be sure to visit our Patreon page and help support the podcast by being part of the conversation. The more money raised, the larger the global reach we can offer you: https://www.patreon.com/thewisefool For more information about the host, Matthew Dols http://www.matthewdols.com

In his beautiful atelier we discussed: Screen printing, Printmakers, Printmaking, The trend toward specificity and precise titles and descriptions, Working in editions, Cyanotypes, Making art is a passion, Art as a language, p contemporary (Gallery Michaela Seif), Printing an entire tree, Art fairs, Artist statements, The process is not the art, Artist residencies, The need for constructive feedback, An artist statement is an extension of the visual work, Erasmus Programme / study abroad / exchange students, Working collaboratively, Artists needing to store their artwork, Storage needs, and Integrating technology. http://www.michaelwegerer.net https://www.quintscreenprint.com   Michael Wegerer (*1970 in Austria) works with extended methods of printmaking, drawing, sculpture and installations. His work is an ongoing media-reflexive exploration of cultural and historical perceptions of images and data as well as the interweaving of visual media. The starting point are socio-cultural themes, collaged from newspaper clippings and statistics, which he has been collecting for several years in an archive created especially for this occasion. In the course of several international working periods in Great Britain, Ireland, Australia, Sweden and China, he has been developing experimental and versatile screen-printing techniques since 2006. In addition to his national and international exhibition activities, he is also dedicated to the design of glass and façade elements within the framework of Kunst am Bau projects. Education: In 2008, Wegerer graduated with distinction from the University of Applied Arts in Fine and Media Arts. After completing his Master's degree (2009-2011) in Fine Art Practice at the Royal College of Art in London, Wegerer taught as a guest lecturer at RMIT University, Monash University, Charles Darwin University in Australia, Manchester University and at Wimbledon College of Arts in London, Webster University St.Luis, and was a lecturer at the International Summer Academy in Salzburg and at the "Graphische" in Vienna. 2020-2023 Wegerer is an external examiner at the National College of Art and Design in Dublin, Ireland.   Please be sure to visit our Patreon page and help support the podcast by being part of the conversation. The more money raised, the larger the global reach we can offer you: https://www.patreon.com/thewisefool For more information about the host, Matthew Dols http://www.matthewdols.com

This episode of Interrogating Spaces profiles the latest Decolonising the Arts Curriculum exhibition at Central St Martins library, curated by Rahul Patel (Lecturer on MA Culture, Criticism and Curation at Central St Martins and Educational Developer at UAL’s Teaching, Learning and Employability Exchange).The five featured artists are Maria Bendixen, Dr Jo Shah, Tobi Alexandre Falade, Siyan Zhang and Joanna Mamede who lead us through the ideas at play in each of their artworks and their social and political resonances. They speak openly about their personal experiences and help us gain new perspectives on race, bias, identity, ‘otherness’ and decolonisation.The feature is introduced by Rahul Patel.Biographies:Rahul PatelRahul Patel is an Educational Developer (Attainment) and lecturer on the Post Graduate Certificate in Academic Practice – Art, Design and Communications programme with University of the Arts London Teaching and Learning Exchange. He also teaches on the MA Culture, Criticism and Curation at Central Saint Martins, University of the Arts London (UAL). Siyan ZhangSiyan Zhang is a curator who is interested in cultural exchange and identity and has recently completed the MA Culture, Criticism and Curation at Central St Martins. Her research interest is focus on the issues in the city regeneration, especially how to use site-specific city-based exhibition to revive the city. She is currently working at the Freud Museum in London.Instagram: @siyanartDr Jo Shah, SFHEAFounder of the Social Performance Network, Dr Shah holds academic positions at the Royal Central School of Speech and Drama, University of London as Programme Leader of Learning Skills and Course Leader for the Postgraduate Certificate in Teaching and Learning in Higher Education. She specialises in visual and social cultures and her work is focused on the links between individual experience and social phenomenon.Joanna MamedeJoanna Mamede is a Brazilian born Visual Artist and Filmmaker based in London. She has currently completed the MRes Art: Moving Image Programme at Central Saint Martins. Her work explores language and discourse, and its aesthetical influence within a global context. Her research interests investigate difference and issues of translation from a critical and post-colonial stand-point. She has created together with the artist Ana Luiza Rodrigues, who also just completed her Masters in Photography at Central Saint Martins, the project Faceinthehole in order to dissociate political discourse from political image. Instagram: @faceintheholeTobi Alexandra FaladeTobi Alexandra Falade is a London-based artist born in Nigeria and raised in Warri, Uyo, Eket, Port Harcourt, London, Rochdale and Liverpool. She is influenced by these several life narratives and believes that somehow her other self, her ‘shadow self’ continues to live on in Nigeria, whilst she continues life abroad, divorced from her country of origin. She graduated from Fine Art: Painting at Wimbledon College of Arts in 2019.Website: www.tobialexandrafalade.com/Instagram: @tobialexandrafaladeMaria BendixenMaria Bendixen is a Brazilian-born London-based ceramic artist. She is influenced by African, Danish and Japanese cultures and became a full time ceramic artist in 2014 after a career in contemporary dance. Maria’s inspiration comes from the process of making ceramics itself and from experimenting with the materiality of clay. Website: ceramicslondon.wixsite.com/ceramicslondon

Lubaina Himid is a Turner Prize-winning artist, curator and Professor of Contemporary Art at the University of Central Lancashire. Lubaina was born in Zanzibar in 1954. Her mother was from Britain and her father was originally from the Comoros Islands. He died from malaria when Lubaina was just a few months old, and so she and her mother returned to England. She studied Theatre Design at the Wimbledon College of Art and began organising exhibitions of works by fellow black women artists in the early 1980s as part of the Black Art Movement. Her own work focuses on black identity, often shining a light on the slave trade and the contribution made by the people of the black diaspora. She was the first black woman to win the Turner Prize, and was also its oldest winner, at the age of 63. She was appointed an MBE in 2010 and a CBE in 2018. She lives and works in Preston. BOOK CHOICE: Woman on the Edge of Time by Marge Piercy LUXURY ITEM: An endless supply of self-ironing Japanese shirts CASTAWAY'S FAVOURITE: Suzanne by Nina Simone Presenter: Lauren Laverne Producer: Cathy Drysdale

Ben Stephenson is a London based artist exploring the aesthetics of sexuality, intimacy and masculinity through the framework of painting and sculpture. Ben's work engages classicism as a motif for unravelling fragmented and voyeuristic narratives of the body, specifically limbs, and its communication with other parts. Ben graduated from Wimbledon College in 2014 and was shortlisted for the Jerwood Artist bursary in 2017. Hear Ben talk about his process of making, erasing and remaking that develops his relationship with art historical Canons related to the Neoclassical reimagining that relationship to contemporary life and society. Tracklist: Radiohead - Everything In Its Right Place Arthur Russell - That's Us/Wild Combination Hadouk Trio - Lomsha Bill Callahan - Small Plane Loudon Wainwright III - Say That You Love Me (Live)

Born in South-Africa, raised in Israel, Maureen has lived in England, Australia and is now based in Brooklyn, NY. She studied Design for Performance at the Wimbledon College of Art in London. A finalist in the Linbury Prize for Stage Design, she gained practical experience in England and returned to Israel where she continued to work in diverse areas of performance including devised performance, movement and object theatre. Maureen was recognized for her design contribution to the production of "The House by the Lake" at the Acco Festival for Alternative Theatre - and which has since toured Europe and Canada - and received a Fringe First Golden Hedgehog Award for her work on a physical theatre piece "The Boat is Sinking". She then accepted a scholarship from the University of Connecticut Design Tech program, and since moving to the US Maureen has collaborated on productions for theatre, opera, new writing and musicals crafting characters and storylines through the design of costumes and space. Work of hers has been presented in CT, MA, LV and in NYC at BAM, and Off Broadwy at 59e59 theatres, The Actor’s Temple and the Rattlestick Theatre. And in July this year Maureen was a fellowship to the NYFA Immigrant Artist Program. Maureen has exhibited at the United States Institute for Technology (USITT), and twice at the Kennedy Center's American College Festival - both locally and in Washington D.C. - garnering the National Partners-American Theatre award and Stage Craft Institute Las Vegas award for excellence in Design technology. Productions Maureen has designed for have been reviewed in several notable papers including The New York Times, Theatre World Publication and USITT Sightlines. And her dramaturgical process behind the scenic design of "Intimate Apparel" for the Connecticut Rep. has been reviewed and published in "A Companion to Lynn Nottage" (Routledge). Working not only in scenic design, but costume design as well, Maureen was awarded the Zelma H. Weisfeld award for Costume Design and Technology, and was invited to join the US exhibitors of "Costume at the Turn of the Century" at the Bakhrushin Museum in Moscow. This exhibition has since toured the US, the World Stage Design Festival in Taiwan, China and Poland. www.maureenfreedman.com

"My work is very auto-biographical. I’m a loud, exuberant, emotional and probably exhausting character, and my work will always reflect this." Could you tell us a bit about yourself. How long have you been a practising artist and where did you study?I left high school and quite quickly the band I was playing with took off, allowing us to play music together for quite a few years. As all of that came to an end I was left with a bit of a hole in my life. Painting and being creative has always been an intrinsic part of growing up in my family household so applying to study painting at a higher level seemed like a good route to go down. I studied Fine Art Painting, BA at Wimbledon College of Art, graduating in 2015. It was a great school, filled with some brilliant tutors and funny people. The fact that I started when I was twenty-four worked in my benefit, I had already spent some time away from home and had already had my social awakening, meaning I was in the studio most of the time. I was also very aware of how great it was to have a studio and resources readily available, and didn’t want to waste any of that time (or money). After completing my degree Stevie (my wife) and I moved to Antwerp for greener and cheaper pastures, painting there for a year after which we then came to be in Suffolk. I’m now soon to be thirty and would say that I’ve been thinking about art as a focus for fifteen years now! You were recently in a group show called "Dumb" Curated by Kristian Day. Could you tell us about that show?It was a great show, filled with heavy hitters. Some painters which I have been looking at and up to for a while so it was an honour to be hanging in there. It happened at Mercer Chance which is a brilliant non-profit in Hoxton, run by artists for artists. The show was called “Dumb” which is a word that one of the the other exhibitors, Paul Housley has been playing with in different connotations in relation to painting. In certain examples the word “dumb” is used to describe base materials such as paint and canvas which need to be activated by the intelligence of the artist. I can get on with this. He’s a good painter who I can identify with in terms of his obvious love of Picasso and Guston. Shit, that Robert Rush painting in the show was a knock-out too! Probably quite an obvious choice for me though. Repo Man, 2017 Bright White Electric Feel, 2016 Pollen, 2017 Your paintings often feature strange/comical figures, could you tell us about these and where your inspiration comes from?My work is very auto-biographical. I’m a loud, exuberant, emotional and probably exhausting character, and my work will always reflect this. Painting has always been a form of self-help for me, or a way to work out any problem solving that life throws up. Funny and sad - sad and funny. After finishing my studies at Wimbledon I watched the movie “Mid-night Cowboy” a bunch of times, Loving everything about it. I started to see parallels between Joe Buck’s (the lead) path and my own - country boy moving to a bright new city (Antwerp), thinking he’s going to crack it, living on a crazy busy street filled with busy, crazy people - soon realising that what was once gold is now dust. I’m a theatrical guy, and really like to throw myself into a role. So once I had made these connections I started to try and live my life as “Joe Buck” as possible. It was all really fun. I’ve put that one to bed after having a solo show which bought together all my ideas and am happy to move on. Right now I’m working on a body of work which is a response and inspired by Drones Club’s new EP. They are old friends of mine so I’m able to talk with them in depth about the ideals that they have in regards to the music they make and what kind of message they want to get across. They are ideas that I’m very much on board with and I’ve found it very rewarding exploring those together with them. We are working on a collaborative show together for the start of June. Tell us a bit about how you spend your day/studio routine? What is your studio like?Stevie and I share a studio at Asylum Studios. It’s set on an old American air base which was abandoned after the Cold War. The old buildings, radio station, bunkers etc. have been filled with a mixture of different and weird businesses. Asylum Studios is where a lot of the police work and intelligence operations happened. In fact, between Stevie’s and mines studio is a partition wall with a one-way mirror window set in. It’s where the Americans would hold their interrogations. In the late eighties there was quite a significant U.F.O sighting - it was our studio where the American air men who saw the U.F.O were bought for questioning. It’s a very atmospheric place, old jet fighter planes are strewn across dis-used runways, radio domes and watch towers spike the horizon. Its very close to our house that we live in on the South East coast. Asylum Studios itself is a co-op run by some brilliant, active and entertaining artists that we now call our friends. Its great to be part of a certain community that makes decisions together and pull each other forward. Having a partner in the same line of work as yourself is such a bonus - Stevie and I both drive each other. There is a constant support net there if ideas are wavering and you don’t have to twist an arm too hard for a crit! Trouble on Turnhoutsebaan, 2016 This House, 2017 Hurricane, 2017 West German Fat Lava, 2016 What artwork have you seen recently that has resonated with you?If you can call The Louisiana in Copenhagen an artwork in itself then that! Just as a building it was beautiful. The lines, the alluring corridors leading to perfectly framed views of the Scandinavian shoreline and the architecture of the gardens. It was incredible. As a museum - just as great. Whilst we were there we caught an ever poignant Louise Bourgeois show - next door, Asger Jorn! But for current resonant work, the John Kröner show at Gallery Bo Bjerggaard that we caught whilst in the city. It was such an excellent example of incorporating the space into the exhibition, right from the windows of the gallery being left open to let the white chiffon curtains billow in the cold, Danish air to raising the floor through the show so it finally meets the ceiling to create the feeling of a wave of doom! The paintings were fresh and a perfect mixture of comic noir, using techniques which I hadn’t thought about before. He is also a painter who I wasn’t previously aware of so it was all the more exciting. Where has your work been headed more recently?I have always had light-play with sculpture, but I think about it more and more. It’s a crazy beast which needs looking at with a whole different eye, which is probably why everything 3-D I’ve made are very much literal reliefs from my paintings. It’s something that I would like to learn more about and be able to use as a vessel for my painting or vice versa.How do you go about naming your work?A lot of the Midnight Cowboy paintings were named after one-liner quotes from the film, sometimes translated into Flemish as I was living in Belgium at the time. There’s a lot of lines in that movie which made me chuckle. This most recent body of work I’m making I have named after the song titles from Drones Club’s EP. My work, is figurative, honest and brutal - the titles should reflect that. Is there anything new and exciting in the pipeline you would like to tell us about?I’m working with an artist I really love, Jonathan DeDecker, towards a solo show of mine which will be curated by him in an brand new space in China Town, New York. The show will be large scale works on paper which is something I’ve never done before but I’m up for the challenge and feel comfortable in Jonathan’s hands. I’ve worked with him before and trust him. For me the idea alone of China Town excites me enough. It’s totally romantic. www.thomtrojanowski.comwww.kristianday.co.ukAll images courtesy of the artistInterview published 01/06/17

Session Two - The Public Purse and the Market. Tate Britain, Wimbledon College of Art and University of Brighton have joined together to hold this conference on the value of scholarship in the Arts.

Session Three - Scholarship: creative cohesion and social impact. Tate Britain, Wimbledon College of Art and University of Brighton have joined together to hold this conference on the value of scholarship in the Arts.

Session Four - The Knowledge Pool: Locating the new archives of creative scholarship. Tate Britain, Wimbledon College of Art and University of Brighton have joined together to hold this conference on the value of scholarship in the Arts.

Session Five - Futures and models: So where do we go from here? Tate Britain, Wimbledon College of Art and University of Brighton have joined together to hold this conference on the value of scholarship in the Arts.