Podcasts about ybas

Artist and sculptor Permindar Kaur moves between the Black British Arts Movement, the Young British Artists (YBAs), and Barcelona in the 1990s, exploring the ambiguities of Indian and South Asian cultural identities, Nothing is Fixed is an idea that has grown from ⁠Permindar Kaur's 2022 exhibition at The Art House in Wakefield⁠. For their latest, in Southampton, the artist brings together the public and the private, transforming the various gallery spaces into bedrooms of a home. Beds, chairs, tables, and teddy bears - ambiguous, often unsettling, domestic objects - populate the space, as well as never-before-shown works on paper, which underline the role of drawing in their sculptural practice. Born in Britain to Sikh parents of Indian heritage, Permindar is often exhibited in the context of the Black British Arts Movement, showing with leading members of Blk Art Group like Eddie Chambers. The artist also describes their wider interactions with the ⁠YBAs, exhibitions in Japan, and influences from their formative years of practice in Barcelona, Spain, Canada, and Sweden. We discuss encounters with artists like Mona Hatoum and Eva Hesse, Helen Chadwick and Félix González-Torres, and more surrealist storytellers like Leonora Carrington and Paula Rego, alongside the material-focussed practices of Arte Povera. We trouble the category of ‘British Asian artists', exploring Permindar's work with and within particular Indian and Punjabi diasporic communities in Nottingham, Sheffield, and Glasgow, in Scotland. With series like Turbans, Permindar describes how their practice has changed over time, navigating questions of identity, representation, and the binary of non-/Western/European art practices. They share their research on a site-specific public sculpture for Southampton's yearly Mela Festival, a long-established event which represents, rather than ‘reclaims' space for, different South Asian cultures - and lifelong learning, from younger artists. Permindar Kaur: Nothing is Fixed ran at John Hansard Gallery in Southampton until September 2024, closing with the launch of an exhibition book of the same name, supported by Jhaveri Contemporary in Mumbai. Sculpture in the Park is on view at Compton Verney in Warwickshire until 2027. Kaur also presented work in A Spirit Inside, an exhibition of works from the Women's Art Collection and the Ingram Collection, at Compton Verney until September 2024. Bloomberg New Contemporaries 2024 opens in venues across Plymouth on 28 September 2024, and travels to the Institute of Contemporary Arts (ICA) in London from 15 January 2025. For more, you can read my article in gowithYamo. Hear curator Griselda Pollock, from ⁠Medium and Memory (2023)⁠ at HackelBury Fine Art in London: pod.link/1533637675/episode/37a51e9fab056d7b747f09f6020aa37e Read into Jasleen Kaur's practice, and the Turner Prize 2024, in gowithYamo: gowithyamo.com/blog/jasleen-kaur-interview And other artists connected to Glasgow, including Alia Syed (instagram.com/p/C--wHJsoFp6/?img_index=1), and ⁠Ingrid Pollard, in the episode from Carbon Slowly Turning (2022)⁠ at MK Gallery in Milton Keynes, the Turner Contemporary in Margate, and Tate Liverpool, and Invasion Ecology (2024): pod.link/1533637675/episode/4d74beaf7489c837185a37d397819fb8. For more about toys and unsettling ‘children's stories', hear Sequoia Danielle Barnes on Br'er Rabbit and the Tar Baby (2024) at Edinburgh Sculpture Workshop: pod.link/1533637675/episode/2b43d4e0319d49a76895b8750ade36f8 And listen out for more from Bloomberg New Contemporaries 2024 - coming soon. 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

In this episode, British abstract artist and filmmaker Mark James talks about his tortuous route to securing a place at Goldsmith’s art college, how he witnessed the Freeze exhibition mounted by the so-called Young British Artists, YBAs, and how he made a subsequent film about it, the intrigue behind his first film about the American... Continue Reading →

Vėl Tie Patys #182 apie putkos interviu, Yellowstone ir draugų lažybas by Negyvas Eteris

In this edition of arts24, Eve Jackson is joined by one of the most important abstract painters of her generation. Born in Hong Kong, Fiona Rae grew up in Indonesia, then London, where she trained as an artist in the 1980s. She became part of the infamous generation known as YBAs or Young British Artists in the 1990s, being shortlisted for the prestigious Turner Prize when she was 27 before becoming one of the youngest people to be elected to Britain's prestigious Royal Academy of Art a decade later. Her work has been shown all over the world and she is regularly celebrated here in France. Fiona's new show is at the Natalie Obadia Gallery in Paris until March.

Curator Dorothy Price outlines the figures of Claudette Johnson, a founder member of the Black British Art Movement (Blk Art Group), and one of the first ‘post-colonials' practicing in Wolverhampton, Birmingham, and the Midlands from the 1980s to now. Ever so-slightly-larger than-life, Claudette Johnson's drawings of Black figures reflect the status of their artist. A founding member of the Black British Arts Movement or BLK Art Group in the 1980s, she was a leading figure in a politically-charged creative community - called the first ‘post-colonials' by Stuart Hall, for being born and raised in Britain. Johnson worked closely with fellow ‘post-Windrush' contemporaries include Eddie Chambers and Keith Piper, Ingrid Pollard and Maud Sulter, Marlene Smith and Lubaina Himid - but her work has been relatively underrepresented. As the artist's first public monographic exhibition opens in London, curator Dorothy Price talks about her practice in the Wolverhampton Young Black Artists Group - which predated the YBAs - and formative speech in the First National Black Arts Conference in 1982. Dorothy shares personal insights from the groundbreaking ICA exhibition, The Thin Black Line, and Claudette's complex position as a Black European artist of African and Caribbean descent. Drawing on the Courtauld's permanent collection, we see the artist's work with African masks, sculptures, and conventional representations of Black women, challenging the colonial foundations of Western European modernism, and reappropriating the ‘Primitivism' of the likes of Pablo Picasso and Paul Gauguin to state her place in art history. We also discuss her contemporary practice, and how the history of the Black British Arts Movement can decentre the contemporary ‘Brixtonisation' of the singular Black experience, drawing attention to cities in Wolverhampton, Birmingham, and the Midlands. Claudette Johnson: Presence runs at the Courtauld Gallery in London until 14 January 2023. For more, you can read my article. For more about Keith Piper, hear curators Jake Subryan Richards and Vicky Avery on Black Atlantic: Power, People, Resistance (2023) at the Fitzwilliam Museum on EMPIRE LINES: pod.link/1533637675/episode/a5271ae2bc8c85116db581918412eda2 For more on Ingrid Pollard, hear the artist on Carbon Slowly Turning (2022) at the Turner Contemporary on EMPIRE LINES: pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4 For more about the ‘Brixtonisation' of the Black British experience, listen to artist Johny Pitts on Home is Not A Place (2021-Now) at The Photographers' Gallery on EMPIRE LINES: pod.link/1533637675/episode/70fd7f9adfd2e5e30b91dc77ee811613 For more on Hurvin Anderson, hear Hepworth Wakefield curator Isabella Maidment on his Barbershop (2006-2023) series on EMPIRE LINES: pod.link/1533637675/episode/5cfb7ddb525098a8e8da837fcace8068 Recommended reading: On Lubaina Himid: gowithyamo.com/blog/the-revolutionary-act-of-walking-in-the-city On Maud Sulter: gowithyamo.com/blog/reclaiming-visual-culture-black-venus-at-somerset-house On Sonia Boyce: gowithyamo.com/blog/feeling-her-way-sonia-boyces-noisy-exhibition On Life Between Islands at Tate Britain: artmag.co.uk/the-caribbean-condensed-life-between-islands-at-the-tate-britain/ WITH: Professor Dorothy Price, Professor of Modern and Contemporary Art and Critical Race Art History at The Courtauld, London. She is also Editor of Art History, journal of the Association for Art History, and founder of the Tate/Paul Mellon Centre's British Art Network subgroup on Black British Art. Dorothy is the co-curator of Presence. ART: ‘And I Have My Own Business in This Skin, Claudette Johnson (1982)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

Hello and welcome back to another episode of the Perception Podcast with me, your host Caroline Partridge. Today I have the absolute pleasure of talking to artist, sculptor, and performer Chris Dobrowolski. Apart from being a brilliant artist, Chris is an exceptional storyteller and in our entertaining conversation, he recounts his journey into art as well as his attempted escape from Art School. He explains the influence of the deceptive nature of modern-day post-truth politics on his latest work, and we discuss the importance of experimentation in art, the emergence of the YBAs, and ask how do you measure what makes a successful artist? Please join me as we look at art through a different lens. KEY TAKEAWAYS You learn by trying new things and sometimes failing. When portraying the real world, you need to include elements that reflect the truth. Art reflects your perception of the world. Chris' art is often shared as performance lectures, or explanations that are conducted through unexpected mediums. Young British Artists (YBA) is a great example of incredible marketing. Art is no longer just about sculptures or something that is hung on walls. When you look at art and your interaction with that art you become part of the art, making it live. BEST MOMENTS‘It's not about being the best drawer, it's not about being the best at XYZ. It's about exploring things. ´‘There's something inherently paradoxical about the artistic process.'‘My work is about what's true and what's a lie.'‘There´s a difference between reacting and responding.'   ABOUT THE GUESTChris' Biog Socials:Website https://www.chrisdobo.com/Facebook https://www.facebook.com/ChrisDobrowolskiArt/Instagram https://www.instagram.com/chrisdobrowolski/Twitter https://twitter.com/Chris_Dobo ABOUT THE HOSTBioCaroline Partridge is a unique and creative individual. She is an actress, puppeteer, educator, and artist with funny bones. She loves a story and is an expert at conveying wit and wisdom with warmth, understanding, and empathy. CONTACT METHODFACEBOOK - https://www.facebook.com/caropartridgeLinkedIn - https://www.linkedin.com/in/caroline-partridge-03131520 Instagram - https://www.instagram.com/partridge_caroline PODCAST DESCRIPTIONThis is a podcast series about discovery, understanding, revelation, and stories. How we perceive the world is rooted in everything that has influenced us throughout our lives, emotionally and psychologically. We become the sum of our parts and each of us has our own unique view of the world. 'Vision' truly is an act of interpretation. In this podcast series through fascinating conversations, I set about trying to understand how we form our perceptions, view different perspectives, and examine how perception has influenced, inspired, or hindered the lives of each of my unique guests. 

Rėmėjais galite tapti paspaudę šią nuorodą: https://contribee.com/krepsinisnet 00:00 – laikotarpis Mažeikiuose 04:35 – esminės „M Basket“ problemos 11:00 – ankstyvas komandų komplektavimas 12:09 – pasiūlymas R.Milašiui 18:54 – ką reikėtų keisti NKL‘e 25:42 – lažybų problema NKL‘e 37:30 – kas darosi „Labas GAS“ klube 44:30 – kas gali iš NKL pakilti į LKL 48:37 – gandai apie pasiūlymą iš „Wolves“ 49:04 – vedančių LKL klubų pajėgumas 54:17 – ar kažką keistų „Lietkabelyje“ 56:04 – tėčio interviu 1:00:12 – ateities planai

In my last special episode, I talked about FTX crypto exchange founder, Sam Bankman-Fried's, arrest in the Bahamas and the list of charges from the Department of Justice, SEC and CFTC. SBF is not the only one in legal jeopardy. Celebrities Tom Brady (geez, he's had a BAD year, huh?), Larry David and Kevin O'Leary are on the wrong side of legal action, as well. I talked about this legal angle on the 12-15-2022 episode of Yahoo Finance LIVE.Days after SBF filed for FTX bankruptcy, attorney Adam Moskowitz of The Moskowitz Law Firm, a South Florida litigation boutique, and Boies Schiller Flexner filed actions in Miami federal and state court against Bankman-Fried and celebrity promoters of the exchange.The federal class action suits allege that FTX's yield-bearing accounts (YBAs), which pay interest on crypto holdings, were actually unregistered securities in violation of both state and federal securities laws and that celebrities who promoted them should therefore be on the hook for investor damages.SAFETY DISCLAIMER: There are a LOT of scammers out there on social media impersonating me and other crypto educators and trailblazers and I need your help. Now hear this. I will never slide into your DMs to say “peace and blessings” or hey. And I will never reach out to solicit your time or your money. Like. EVER. So be careful and make good choices! FYI, I developed an entire FREE masterclass about the topic, so check out SecureYourCryptoBag.com for more information.POWERED BY ADVANTAGE EVANS™ ACADEMY  Show Contact:Questions and requests? Leave a message: speakpipe.com/techintersectFollow: Twitter @AtTechIntersect | Instagram @TechIntersect Web: Tech Intersect Podcast  Connect for exclusive content: http://eepurl.com/gKqDyP Support the showRegulate & The Rabbit Hole by Notty Prod licensed via Creative Commons Attribution-NoDerivatives 4.0 International License. Produced by Tonya M. Evans for Advantage Evans, LLC

В последните години Деймиън Хърст е най-богатият художник в Обединеното кралство с нетно състояние от над £315 милиона. На 9 септември той и планирал да унищожи хиляди свои произведения на изкуството в своята галерия в Лондон. Защо? През 2016 г. Хърст създава 10 000 уникални картини с цветни точки всяка със собствено заглавие. По-късно всяка от картините е дигитализирана и се продава под формата на NFT. (Какво е NFT - вижте тук.) Всяко произведение струва 2000 долара. Но. Купувачите имат възможност да имат произведението под формата на дигитално притежание - NFT или същото, в традиционната и популярна физическа форма. Въпросът е, че не можеш да притежаваш и двете. "Колекционерът... не може да задържи и двете. Така че избирайте внимателно", пишат през 2021 в Guardian. Над 4 хиляди души избират физическо произведение на изкуството, а около 6 хиляди - избират да запазят своите дигитални NFT притежания. Съответно, физическата версия на всички дигитализирани произведения трябва да бъде унищожена. Ето защо, картините, които представляват маслени бои върху хартия - ще лумнат в пламъци на 9 септември 2022 г. Заглавието на целия проект е "Валутата". И задава интересни въпроси: Как се формира стойност в изкуството? Кое е ценно днес - физическото или дигиталното? Какво е изкуство и кой може да продава произведения за милиони? Чуйте интересния разговор с художничката София Грънчарова и изкуствоведката Весела Ножарова в подкаста на Dir.bg "Trendy". Деймиън Хърст се прочу в целия свят, когато през 2007 неговото произведение "For the Love of God" - човешки череп, покрит с платина и инкрустиран с диаманти, се превърна в най-скъпото произведение на изкуството в света, след като бе продадено за 100 милиона долара. Преди него, животни разрязани на две и поставени във формалдехид бяха отличителният похват в изкуството на Хърст, част от групата "Младите британски художници" - YBAs.

Another hour in conversation with artist Sarah Morris. Sarah was first on the program for Episode 51. In that conversation, we spent the hour trying to get inside the head of the noted painter and filmmaker. In contrast, this episode's conversation is more story time. Sarah shares a number of stories from the span of her career, including her entry into the New York art scene in the late 80s, her time in London during the reign of the YBAs, trying to shoot a sleep-deprived Kate Moss for Vogue and combating a museum's power play.

What you'll learn in this episode: Why an empty mind is the key to creative exploration The difference between an artist-jeweler and a jeweler or artist alone What fair-trade gold is, and how Ute became a pioneer in the ethical jewelry movement Why greenwashing is the newest trend threatening the ethical jewelry market How jewelry creates connections, even when someone wouldn't wear a piece themselves About Ute Decker Ute Decker, born 1969, Germany, lives and works in London, UK. The jewels of Ute Decker are described as “a powerful statement” that “sets a shining ethical example” (Financial Times). The Economist 1843 compares her “avant-garde sculptural pieces” to “swirling sculptures” while Christie's simply calls them “wearable works of art”. Ute's pieces are exhibited internationally and have won prestigious awards including Gold Awards from The Goldsmiths' Craft and Design Council, UK. Public collections include the Victoria & Albert Museum, UK; the Crafts Council, UK; the Goldsmiths' Company, UK; the Spencer Museum, USA; Musée Barbier-Mueller, Switzerland; and the Swiss National Museum. As a political economist-turned-journalist-turned-artist jeweler, Ute Decker is a pioneer of the international ethical jewelery movement. She works predominately in recycled silver and was one of the first worldwide to work in Fairtrade Gold. Additional Resources: Website  Instagram Ute's Facebook Ute's Jewelry Facebook Photos Available on TheJewelryJourney.com  Transcript: When it comes to ethical jewelry, artist-jeweler Ute Decker is the real deal. She was one of the first people to use fair-trade gold when it became available in the U.K., and she has spent her career advocating for the use of truly ethically sourced materials in the jewelry industry. Above all, she's proven that ethical can be beautiful: her sculptural works have won several awards and are in the collection of museums worldwide. She joined the Jewelry Journey Podcast to talk about what fair trade means; how she approaches the creative process; and what makes an artist-jeweler. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week.    Today my guest is Ute Decker, talking with us from London. Ute is an artist-jeweler who's known for an innovative method of sculpting, bending and twisting metal into three-dimensional, wearable sculptures. She works in fair-trade gold and recycled silver and is considered a pioneer in the international ethical jewelry movement. We'll hear more about her jewelry journey today. Ute, welcome to the program.   Ute: Sharon, thank you very much for having me. It's a pleasure to be here.   Sharon: So glad to have you. Tell us about your jewelry journey. How did you end up doing what you're doing?   Ute: Yes, it was rather unplanned. I'm the daughter of winemakers, several generations of winemakers. As a child, I thought that's what I wanted to be, making wine. So, I grew up in beautiful nature. As I grew up, I was more and more interested in politics, history, philosophy, and I ended up in political economics, because already as a teenager, I wanted to change the world. I thought it was best to have some understanding of how things work. During university, I did a six-month internship at the United Nations. It was also a real eye opener on how slow progress is made and lobbying, so I was quite disheartened after that internship. Then I worked as a journalist for a while, doing news, current affairs. I probably failed in that because I'm not a good storyteller. Words are not my medium.    I was a little bit lost for a while as to what I really wanted to do. When I grew up, in primary and secondary school, art classes were all about figurative drawing and making. I admired it in other people when they can do it, but that's not my interest, and certainly I can't draw a stickperson to save my life. So, I left school thinking I'm actually not very creative or artistic because I failed in what was required. It was probably not until my mid-30s or maybe late 20s when friends said when I made something, “Oh, that's interesting.” For years I was a closet creator. I went to evening classes and all kinds of workshops, whether it's large-scale sculptures, textiles—I love ceramics—several photography workshops. It really was doing workshops that I kept going back.    Nearly for 20 years before offering myself as a jeweler, friends said, “You should do something with your jewelry,” and I said, “Absolutely not.” I loved it so much. There's no way I would like to make it something professional, to have that kind of pressure. I enjoyed it far too much, but then I was invited to take part in a group show. I thought, “It's fine; I'll add a few pieces and just see.” That was quite amazing. That was in 2009. I won a prize and tons of press, and a couple of major collectors bought my pieces. I thought, “Wow, that's nice! I'll maybe do that one more time.” Soon afterwards, I got a proper, full-time studio. The rest is history, really.   Sharon: I don't know if it's still in progress or you just finished up a solo exhibition at the Elisabetta Cipriani Gallery. Tell us about that. Did you feel it was fulfilling, the adulation?   Ute: Elisabetta Cipriani Gallery is absolutely wonderful. We met, I think, in 2013 at Design Basel where they gave me a spotlight showcase, and we've been working together ever since. As you know—you've done an interview with Elisabetta—Elisabetta primarily represents jewelry by artists. Probably the best known is Rebecca Horn. She does collaborations with fine artists, and I was the first one that was more of an art jeweler than a fine artist making jewelry. Now she works with a few more art jewelers. Elisabetta is Italian and it's always “bella.” What a joy to work with somebody who has a really keen eye, interesting observations, does some wonderful projects, is incredibly supportive and is just a joy to be with.    For that exhibition, it's been in discussion for years. I maybe procrastinated a bit because it feels like—it's the same with how I never wanted to show my jewelry. It feels like you're offering it for others to judge. For me, it's a private thing in a way; it's my way of expressing. A solo show is similar. Here is me at this time. I didn't quite like the idea, but of course it's crazy to postpone an offer of a solo show. Then I finally said to Elisabetta, “Look, I will never be ready. Let's just set a date.” So, we did, and then Covid happened, so it was delayed even more. But I created a new body of work for that show called “Creating Waves.” If you have a chance to see it on Elisabetta's or my website—   Sharon: Which we'll list afterwards with show images.   Ute: Yeah. I've also worked with some system of loops because, for me, jewelry is about making connections. It's making personal connections, but it's making broader connections. Coming from that political/economic background in journalism, it's connections of materiality; it's connections where the material comes from. For me, the interlinking loops—and quite a few of those loops are open, so you can change which connections you would like to make and configure the piece. That's another strand that I developed for the solo show, yeah.   Sharon: I can see. We'll hopefully have a picture of it posted with the podcast. You're wearing one of your rings. Were the loops something you saw in front of you when the metal is flat? Was that something that came to you when you were playing around with it? How did that happen?   Ute: For me, making is very much an exploration. I might have certain ideas when I go into the studio and sit, but I'm very fascinated by Japanese Zen philosophy. That philosophy talks a lot about emptiness as well as empty mind. We in the West see emptiness as a void of something we absolutely, quickly need to fill, as something missing, while in that philosophy, emptiness is the vast openness for potential. For me, I don't want to come to the studio with a fixed idea of what I'd like to do, because then I've already determined it as if I know. I don't need to explore anymore if I feel I know. So, I always kind of know what I'd like to do, but then I usually do something completely different. It's that almost empty mind of exploring metal, shapes.    Quite often it's the sculptural form that I explore. As I said, I can't draw, so I make maquettes in garden wire or in brass and explore the shape for its sculptural form. It's quite often only later that I decide for which part of the body that sculpture form would work best. Then it's weeks of tweaking the brass maquettes. I'm quite often seen wearing the maquettes, because when you create such large sculptural forms, they really need to balance and sit well on the body. It's important that I work that out while wearing them, how they engage with the body. It's only then, when I'm happy, I make the final pieces. It's only then, once the pieces are in front of me, that there's another thought process and those pieces remind me of something, remind me of the loops, how they're interconnected, how we can change our connections, other waves.    I think if you gave me a commission to make a piece about waves, I would fail. It is rather I make a piece, and then it reminds me of waves when I see them. It's kind of arresting time of that kind of movement. I'm very happy with some of the pieces that have become quite special to me. Maybe if we can add a particular armpiece for your listeners to see, it is very much a large wave, but when you put the several maquettes next to each other and you don't have any idea of scale, some people who saw the maquettes said, “Oh, that looks like a Richard Serra that you could walk into.” I think that's also why I give my pieces relatively open titles, because I don't want to pre-determine people's associations, just like I don't want to predetermine what reaction I might have to it. We all come with our own backgrounds, with our own thoughts to a piece, and it's the same. Any great artwork will elicit different reactions depending on what state of life we're in and recent experiences. I like to give pieces very open titles for the viewer and wearer to make it their own.   Sharon: So, you say you're an artist-jeweler. What is the difference between that and an artist alone or a jeweler alone? What is an artist-jeweler to you?   Ute: That is the eternal question, isn't it? That is the eternal question, and I still don't know how to answer that. When I'm asked what I do, if we're face-to-face it's very easy, because I usually wear one of my pieces. I hold it up and say, “This is what I do,” and then you decide what that means to you. The other times when you say you're a jeweler, very few people know about the art jewelry world, really surprisingly. So, most people think you're designing little hearts for the high street shops. I think that's why an artist-jeweler will then elicit another question where you can go deeper into it, but it's all just words. This is what I'm doing.    Sharon: No, it is. It's a very difficult question to answer. I usually ask people what they consider a collector, which also is a very difficult question. When you find the answer, give me a call.    You tried textiles. You tried photography. You tried sculpture. What is it about the kind of jewelry you do; why did it attract you? Why did it stand out?   Ute: I guess jewelry is not called the most intimate of art forms for nothing. I love that you can disappear in your studio and quietly work. I create everything myself with my two hands. I sculpt everything myself. With large-scale sculpture, there's much more immediacy with jewelry because I can bend the shapes with my own hands. In fact, my jewelry studio has very few tools, has no nasty chemicals. It's really my hands, a few pliers, a few mallets, mandrels. I like being able to have a spark and immediately translate that into a shape. That's also why I love ceramics. I think in my next life I'll try ceramics as well, explore that.   After setting up as a jeweler, I was commissioned to make some large-scale sculptures, and I thought, “That's amazing. That's what you wanted to do, of course.” But they're so large I had to work with a fabricator. It was a fantastic fabricator who had done it for very well-known artists, the YBAs, the Young British Artists, and did a fantastic job. But for me, it felt unfinished. I handed over the maquette. The fabricator did a wonderful job making a large piece, but usually when I finish a piece of jewelry, I then go and tweak it. It sits there for weeks, and I continue working on it. Here, I was handed over something finished. I don't want something finished. You can't bend it any more with your hands. So, it was surprisingly unsatisfying to make very large sculptures, but I'll do table-size sculptures where I can still be fully hands on. That is something I enjoy doing.   Sharon: Do you do that now, make table-size sculptures similar to jewelry that you bend?   Ute: Yeah, quite a few pieces. In fact, that is one of my favorite reactions when I show my work. People say, “Oh, this is a sculpture. I'm sure you can't wear it,” and then I put it on my hand and the person's hand, and I say, “But surely you can't wear that piece,” and it's wearable. Quite a few pieces look like they only could possibly be sculptures and there's no way to wear them. That's what I really enjoy. Many pieces have been purchased purely for the sole purpose of displaying them rather than wearing them. It's the liminal space between sculpture and wearable sculpture, and again, it's your choice.

We're in conversation with the Eastside legend himself, Ace Apollo. During we discuss being the first rapper EVER to open for the FIFA tournament in Italy, his infamous YBAS mixtape series, his unorthodox methods of creating fans, how to master yourself, meeting John Legend, and more! The Underground- Eryk Leone- Du Monde

Tot is best known in the art world for his London contemporary art gallery, Riflemaker which he co-curated with Virginia Damtsa from 2003-2018. His first novel The Story of John Nightly was published in 2017.  We talk about his early days in London as a session drummer and his first experiences with the art world from regular visits to Sotheby's to his time spent studying music at Goldsmiths which coincided with Damien Hirst and other nascent YBAs.  During lockdown Tot recorded his first solo album Frisbee......   music ‘Baby, I Miss The Internet' (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020) PRS/MCPS/PPL    

Vėl Tie Patys #83 - naujas sezonas su Mantu Katleriu, Mantu Bartuševičiumi ir Mantu Stonkum! www.youtube.com/negyvaseteris www.instagram.com/negyvaseteris www.patreon.com/veltiepatys

Hear Me, See Me. Podcast. with Gary Mansfield.Fine artist, curator and Ministry of Arts Podcast host Gary Mansfield has had a most unlikely induction into the world of art: serving a fourteen year prison sentence in his early twenties for drug importation, Mansfield discovered the catalogue for the 1999 Saatchi exhibition Sensation, which brought together the group of artists known as the YBAs. and Mark Wallinger.Inspired by the work he saw, Mansfield contacted these up-and-coming artists form his cell, asking for information on their work and careers. A bold move, Mansfield's bold move was well received, and led to correspondences that would last throughout his sentence with the likes of Sarah Lucas, Gavin Turk, Gary Hume, Mark Titchner and Mark Wallinger.Under their guidance, Mansfield eventually completed a degree in Fine Art: an achievement that would come to have a profound and lasting impact on his sene of self. Since completing his degree, Mansfield has collaborated with the a number of the YBAs on various artworks and projects. He also works closely with prisoners & ex-offenders, curates large exhibitions to raising funds for various charities, and is a board member of the Koestler Trust. Intimately tied to his early life experiences, Mansfield's works explore themes of incarceration, focusing on the material enclosures of prison life, for a powerful and politically charged aesthetic. ( Bio : ArtRepublic )Gary is funny, inspirational and proof that a leopard can change his spots.https://www.instagram.com/mizogart/https://twitter.com/mizogArthttps://www.facebook.com/gmanasfieldhttps://artrepublic.com/collections/gary-mansfield#Haircuts4Homeless : https://www.haircuts4homeless.com/Produced by : https://svnty6production.com/Artwork by : https://www.dvsyart.com/Support this show http://supporter.acast.com/hear-me-see-me. See acast.com/privacy for privacy and opt-out information.

Join this year's guest host Elizabeth Fullerton and myself as we map out what's happening with Art Fictions this year, including Culture Exchange, Elizabeth's book on the YBAs, 24 Hour Hitchcock, psychiatric illness, fragmented compositions, personal and environmental narratives, sexuality, gender, race, queer, cis, boobs and cupcakes !  instagram artfictions2020 and jillianknipe2020 website jillianknipe.co.uk instagram elizabethfullerton website elizabethfullerton.co.uk   ARTISTS, BOOKS, GALLERIES 'ArtRage : The Story of the Brit Art Revolution' 2016 hardback with paperback due out Autumn 2021 Christina Quarles Douglas Gordon Jane Wilson Laura Owens Louise Wilson Pilar Corrias 'Studio International' magazine Thames & Hudson

IT'S EPISODE 15!! Today I sit down with the incredibly talented British Photographic artist Kerry Curl to discuss the powerhouse British artist that is TRACEY EMIN. To many, Emin needs no introduction. The baptised ‘Bad Girl' of the art world, Tracey is associated with the group of artists known as the YBAs (Young British Artist) who took the London art scene by storm in the Late 1980s and 1990s! Emin, like her fellow YBAs, caused shockwaves across the art world not only through her varied use of materials but her tackling of ‘taboo' subjects such as mental health, abortion, rape and grief. Sit back and relax as Kerry and I discuss Emin's famous unmade bed, her savvy business women style and a VERY interesting article about Tracey's Neon Sculpture and large Installation ‘I want my time with you.' If you enjoy the episode, please make sure that you like, rate and subscribe so you will never miss one! It also helps other people find the podcast! Guest: Kerry Curl Instagram: @kerrycurl Website: www.kerrycurl.com Email: hello@kerrycurl.com Host: Jo McLaughlin Instagram: @josarthistory Website: www.josarthistory.com ALL IMAGES DISCUSSED CAN BE VIEWED ON THE HIGHLIGHTS REEL OF MY INSTAGRAM PAGE OR ON MY WEBSITE. This podcast is also available on youtube. Just search for Jo's Art History. Further Reading: Emin - Art of Neon - https://publicdelivery.org/tracey-emin-neon/#Related_articles Tracey Emin - White Cube Artist file: https://whitecube.com/artists/artist/tracey_emin Tracey Emin: My Bed - Christies Catalogue for 2014 sale - The essay in this entry is EXCELLENT: https://www.christies.com/lot/lot-tracey-emin-b-1963-my-bed-5813479/ Guardian Article about My Bed - https://www.theguardian.com/uk-news/2015/mar/30/tracey-emins-messy-bed-displayed-tate-britain-first-time-in-15-years Tracey Emin on Newsnight: The History of My Bed: https://www.youtube.com/watch?v=j_-3l-YlltA Tracey Emin Wiki Page - https://en.wikipedia.org/wiki/Tracey_Emin#Career_beginnings THAT Independent Interview - https://www.independent.co.uk/arts-entertainment/art/features/tracey-emin-art-st-pancras-station-lame-and-unlovely-i-want-my-time-you-a8297571.html As always, thanks for listening. Jo

HAPPY NEW YEAR!!!! And what a way to kick off the year on Jo's Art History Podcast!! It's Episode 14 and on today's podcast Jo sits down with artist Gary Mansfield, artist, podcaster and arts for all activists who says art saved him. It was during an art class one day while Gary was serving a 14 year prison sentence that he came across the work of Ray Richardson, and the rest they say is history! In this episode we talk about the conceptual art of the YBAs, why it is always important to look again, never assume anything and also speak about the rising star that is Sarah Maple, a favourite of Jo's too! Guest: Gary Mansfield Website - currently under construction Instagram:@mizogart PODCAT - Ministry of Arts - https://www.ministryofarts.org/ Give it a listen - you will not be disappointed! Host: Jo McLaughlin Website. www.josarthistory.com Instagram: @Josarthistory All images mentioned throughout the podcast will be available to view on Jo's Instagram page or website. Please follow the links above. Ministry of Arts Podcast Episodes Mentioned: Spotify and Itunes: Ep. 85 Sarah Maple Ep. 31 Katie Piper Facevalue3 Ep. 27 Ray Richardson Ep.19 Mark Wallinger Ep. 2 Patrck Hughrd Ep. 1 Dougie Fields Marc Wallinger - Threshold to the Kingdom video clip -

In this edition of Behind The Report, Adam Green previews our brand new series of reports, Then & Now, that will explore how different artist groups or movements from the past are faring in today’s auction market. In this first edition of the series, we look at the group of Young British Artists (YBAs) who emerged during the 1990s and in particular, those artists that participated in the infamous Sensation exhibition at the Royal Academy of Arts in 1997. This includes Damien Hirst, Jenny Saville, Chris Ofili, Tracey Emin, Glenn Brown, Marc Quinn, Sarah Lucas and many others.

British artist Marc Quinn has been one of the world's leading contemporary artists for over 30 years. A prominent member of the group known as the Young British Artists (or YBAs) who dominated the British art scene in the 1990s, his high-profile works have included Alison Lapper Pregnant, for the inaugural fourth plinth sculpture in London’s Trafalgar Square; and Self, a series of self-portraits of his own head - made out of ten pints of his own blood - cast and frozen every five years. In this episode of In the Studio, Marc Quinn takes Edwina Pitman behind the scenes of an ambitious new work called 100 Heads, in which he documents the stories, and casts in concrete the heads, of 100 refugees. Spurred by the images and news reports of the refugee crisis in 2015, Marc began to make plans for not-for-profit public artworks to both raise awareness and money for refugees around the world. 100 Heads is being created in part therefore to raise funds for another ongoing Marc Quinn public artwork called Our Blood, in which 2,000 litres of frozen human blood - drawn from 10,000 resettled refugees, celebrities and other participants - will be encased in a pavilion on the steps of the New York Public Library in 2021. From the initial meeting and interviewing refugees, through scanning, moulding and casting the concrete, Marc reveals the many processes as well as the technical and logistical challenges of creating 100 portrait heads of people from all over the world. The eventual creation will, he hopes, be a monument to our common humanity, one that emphasises through the power of art, that more unites than divides us.

Y'all thought this was over? Oh hell naw!We are back with the right sound, the right topics and girl the right body (pero not really because of the snacks!) Let's catch up and get back on track being the hot ass messes we are, trying to answer all the questions life gives us! YBAS style! --- Support this podcast: https://podcasters.spotify.com/pod/show/youbetterasksomebody/support

Gavin Turk in conversation with Joseph Kosuth, moderated by James Putnam ‘We are asleep. Our life is like a dream. But in our better hours we wake up just enough to realise that we are dreaming.' - Ludwig Wittgenstein Gavin Turk's installation and intervention in Freud's former residence, Wittgenstein's Dream, investigates the intriguing conceptual dialogue between two enlightened Viennese thinkers of the 20th century, Sigmund Freud (1856-1939) and Ludwig Wittgenstein (1889-1951). Gavin Turk was born 1967 in Guildford, from 1989-91 he attended the Royal College of Art. For his MA exhibition show Cave, Turk notoriously presented a whitewashed studio space containing only a blue heritage plaque commemorating his presence. Though refused a degree, his subsequent infamy attracted the attention of Charles Saatchi and Turk became part of a loosely associated group known as the ‘Young British Artists' (YBAs). He has continued to show worldwide and has work in many national museum collections (including Tate and MOMA). His work often deals with concerns of authority and identity and has taken up many forms including the painted bronze, the waxwork, the recycled art-historical icon and the use of litter. Joseph Kosuth is one of the pioneers of Conceptual art and installation art, initiating language-based works and appropriation strategies in the 1960s. His work has consistently explored the production and role of language and meaning within art. The philosophy of Ludwig Wittgenstein, among others, influenced the development of his work. Kosuth's installation Zero & Not was exhibited at Berggasse 19 - The Sigmund Freud Museum in Vienna, marking the centennial of Sigmund Freud's birth. In its artistic and curatorial approach the installation drew on his seminal exhibition projects Wittgenstein – Das Spiel des Unsagbaren at the Vienna Secession (1989) in Austria and the Palais des Beaux-Arts, Brussels. Wittgenstein's Dream is the latest in the critically acclaimed ongoing series of Freud Museum London exhibitions curated by James Putnam that have included projects by Sophie Calle, Sarah Lucas, Ellen Gallagher, Tim Noble & Sue Webster, Mat Collishaw and Miroslaw Balka. Wittgenstein's Dream is on display at The Freud Museum London 26 November 2015 – 7 February 2016  In association with Ben Brown Fine Arts.

In the latest episode of Material Matters with Grant Gibson architect Andrew Waugh, co-founder of award-winning practice Waugh Thistleton, discusses why he decided to design tall buildings out of wood – or cross-laminated timber to be precise. In a wide-ranging conversation he lays out in no uncertain terms the issues the construction industry faces over sustainability, what it needs to do to avoid environmental calamity, and how CLT can provide some of the answers. En route he touches on the perceptions of the material and worries around wooden buildings post-Grenfell.Not only that but he also explains how growing up in Milton Keynes led to his fascination with cars (he’s the proud owner of an electric one now folks); ponders on why he was such a lousy student; unpicks the influence British Library architect Sandy Wilson had on his career; and remembers what it was like designing hyper-fashionable bars and clubs in Shoreditch during the nineties, while finding time to hang out with a generation of artists that became known as the YBAs. There’s some important stuff in here, it’s well worth a listen.

Kauno „Žalgiris” antrus metus iš eilės patenka į Eurolygos atkrintamąsias varžybas. Britų parlamentas neapsisprendžia dėl „Brexit'o” sąlygų. Lietuvos ir Lenkijos premjerai lankosi Šiauliuose ir Mažeikiuose, kur veikia „Orlen Lietuva” gamykla. Atidaromas Stambulo oro uostas. Fiksuojamas didelis oro užterštumas kietosiosmis dalelėmis. Šiandien „Regitroje” prasideda Atvirų durų diena.

Episode 5: Tracey Emin, A Fortnight of Tears at The White Cube, Bermondsey until 6th April. Discussed by Caz Murray, Vikki Kosmalska & Laura Lennard.Tracey Emin, the Turner Prize nominee, original enfant terrible of the 90s art world, and core member of the YBAs: she's an artist we're all familiar with. An artist we think we all know. But her current exhibition at The White Cube in Bermondsey had us rethinking both Emin and her artistic output. A Fortnight of Tears explores the loss experienced by the artist through various life changing events. It provoked strong reactions and really divided opinion amongst Team Artcast. Tune in to hear the debate. We question:Is it limiting for an artists' work to be so thoroughly entwined with their autobiography? Is there a place for expressionist painting in contemporary art?Should Emin be celebrated for giving voice to inherently female narratives on such a grand scale, or is it distasteful to commercialise her private pain? A phenomenally popular, free exhibition: there is no doubt that Emin is drawing in the crowds. Let us know what you thought:Email us: hellotheartcast@gmail.comDM or follow us on Instagram: @theartcast  Thank you, as always, to the incredible Nat Witts for our jingle, and to the brilliant Jonny Lennard for our editing.

Frieze editor and writer and author of Pretentiousness: Why It Matters, Dan Fox talks about: The English accent in the U.S., which has been called ‘fake,’ and even ‘villainous’; his intention in writing the book to get people, in using the word “pretentious,” to think more about what they mean when they use that word, whether they mean it as an insult or not; people being “pretentious” in film and television, and why people criticize Anglos who mix French words into their sentences; the differences in the way art is consumed and critiqued by London compared with New York art audiences; art goers as described in his book, and we have a rather intense debate about selfie-focused art-goers, particularly vis-à-vis waiting in long lines, as in for the Yayoi Kusama show(s); the complex ways that class functions in the art world (including class barriers for entry), and some of the various reasons that people become committed to the field, and/or lifestyle; and the time when an art duo confronted him in the street after he tore them apart in a review, a scene right out of a Western.

In the late 1980s British art entered what was quickly recognised as a new and excitingly distinctive phase, the era of what became known as the YBAs – the Young British Artists. Join journalist and broadcaster Grace Dent as she takes a look at how a shop, a house and a fete were at the centre of this art scene. For more information about the artists and artworks in our collection, visit www.tate.org.uk See acast.com/privacy for privacy and opt-out information.

What has changed since the year that frieze magazine was born in London in 1991? How far has the contemporary art world come since the decade of the YBAs, and what was it really like to be on the ground in London at the time?

With John Wilson. Last Vegas stars Hollywood heavyweights Morgan Freeman, Robert De Niro and Kevin Kilne as a group of sixty and seventy somethings throwing a stag do for their old friend Billy, played by Michael Douglas. The film, which has been described as The Hangover for the older generation, explores issues of retirement and bereavement against the backdrop of the excesses of Las Vegas. Antonia Quirke reviews. The novelist Elizabeth Jane Howard, known for her best-selling series about the lives of the Cazalet family, has died at the age of 90. In interviews previously recorded for Radio 4, we hear from Elizabeth Jane Howard and her step-son, Martin Amis. Sculptor Tom Price talks about a new exhibition of his work at the Yorkshire Sculpture Park. His bronze sculptures of contemporary figures were initially inspired by the expressions on people's faces as they watched a performance piece by Price in which he spent a week licking a gallery wall. Tom Price discusses the legacy of the YBAs and using dentists' tools to create the fine detail on his sculptures. Jarvis Cocker and Martin Wallace talk about their film The Big Melt which was commissioned to celebrate the centenary of stainless steel production in Sheffield. Created from archive from the British Film Institute and set to a score composed by Cocker and performed by Sheffield musicians, the film tells the story of steel and of Sheffield's past. Front Row looks ahead to what 2014 may have in store in the world of pop music. Music journalist Kitty Empire discusses the musicians that are likely to dominate the next twelve months and which artists are likely to release new albums. Producer: Olivia Skinner.