Podcasts about Young British Artists

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

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

Til lyden af Sex Pistols og Oasis stormer kunstnergruppen Young British Artists frem i 90ernes Storbritannien. En af gruppens mest fremtrædende medlemmer er Damien Hirst, som i dag er blandt de rigeste og mest berømte kunstnere i verden. Han er berømt for at udstille hajer og køer nedsunket i konserveringsmidlet formaldehyd, for at masseproducere unikke prikkede værker og for et diamantdækket menneskekraniehoved. Men Damien Hirst er også hovedpersonen i en række afsløringer om forfalskning af datoer på hans kunst. Spørgsmålet er, om hans fiflen med årstal blot er et desperat forsøg på at holde sig relevant i verden, han er ved at vokse ud af. Det tænker kurator og leder af udstillingsstedet Tranen, Toke Lykkeberg. Vært: Simon Stefanski.

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 →

Episode Notes Arnason, H. H. (2014). History of Modern Art: Painting, Sculpture, Architecture, Photography (7th ed.). Pearson. - [https://www.pearson.com/us/higher-education/program/Arnason-History-of-Modern-Art-Vol-1-Paperback-Plus-MySearchLab-with-eText-Package-7th-Edition/PGM270428.html](https://www.pearson.com/us/higher-education/program/Arnason-History-of-Modern-Art-Vol-1-Paperback-Plus-MySearchLab-with-eText-Package-7th-Edition/PGM270428.html) - - Celant, Germano. (1997). Damien Hirst. Fondazione Prada. - URL: [https://www.fondazioneprada.org/prodotto/damien-hirst/](https://www.fondazioneprada.org/prodotto/damien-hirst/) Gagosian Gallery. (2006). Damien Hirst: A Thousand Years. Gagosian Gallery. URL: https://gagosian.com/shop/books/2006-damien-hirst-a-thousand-years/ Hirst, Damien. (1992). I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now. Thames & Hudson. URL: https://thamesandhudson.com/i-want-to-spend-the-rest-of-my-life-everywhere-with-everyone-one-to-one-always-forever-now-9780500276600 Hirst, Damien. (1997). Damien Hirst: I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now. Booth-Clibborn Editions. URL: https://www.booth-clibborn.com/product/damien-hirst-i-want-to-spend-the-rest-of-my-life-everywhere-with-everyone-one-to-one-always-forever-now/ Schama, Simon. (1997). Dead Right: The Great Adventure of Damien Hirst. The New Yorker, 73(26), 46-55. URL: https://www.newyorker.com/magazine/1997/09/22/dead-right Livingstone, Marco. (2000). Damien Hirst. Tate Publishing. URL: https://shop.tate.org.uk/damien-hirst/15967.html Heartney, Eleanor. (2004). Damien Hirst. Taschen. URL: https://www.taschen.com/pages/en/catalogue/art/all/45308/facts.damien_hirst.htm Smith, Karen. (2012). Who's afraid of Damien Hirst? Visual Culture in Britain, 13(3), 359-383. URL: https://www.tandfonline.com/doi/abs/10.1080/14714787.2012.707529 Stallabrass, Julian. (1999). High Art Lite: British Art in the 1990s. Verso. URL: https://www.versobooks.com/books/498-high-art-lite Bishop, Claire. (2006). The Social Turn: Collaboration and Its Discontents. Artforum International, 44(6), 178-183. URL: https://www.artforum.com/print/200604/the-social-turn-collaboration-and-its-discontents-12309 Hirst, Damien. (1993). Some Went Mad, Some Ran Away. Boxtree. URL: https://www.goodreads.com/book/show/566545.Some_Went_Mad_Some_Ran_Away Graham-Dixon, Andrew. (2001). Damien Hirst. Harry N. Abrams. URL: https://www.penguinrandomhouse.com/books/116562/damien-hirst-by-andrew-graham-dixon/ Jones, Jonathan. (2001). Damien Hirst: On the Way to Work. Faber & Faber. URL: https://www.faber.co.uk/9780571219112-damien-hirst.html Gompertz, Will. (2015). What Are You Looking At? The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art. Plume. URL: https://www.penguinrandomhouse.com/books/308087/what-are-you-looking-at-by-will-gompertz/ Ferguson, Russell. (1996). The Young British Artists. Thames & Hudson. URL: https://www.thamesandhudson.com/the-young-british-artists-0-500-28039-1 Kent, Sarah. (1999). Young British Art: The Saatchi Decade. Booth-Clibborn Editions. URL: https://www.goodreads.com/book/show/5464349-young-british-art Kent, Sarah. (2001). Shark-Infested Waters: The Saatchi Collection of British Art in the 90s. Thames & Hudson. URL: https://www.thamesandhudson.com/shark-infested-waters-9780500282328 Barber, Fionna. (1999). The Art of Medicine. BMJ: British Medical Journal, 319(7223), 1580. URL: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1117243/ Gompertz, Will. (1997). The Other Hirst. The Guardian. Retrieved from https://www.theguardian.com/education/1997/sep/16/arts.highereducation Schama, Simon. (1997). Dead Right: The Great Adventure of Damien Hirst. The New Yorker, 73(26), 46-55. URL: https://www.newyorker.com/magazine/1997/09/22/dead-right Walker, John A. (2000). Art in the Age of Mass Media. Pluto Press. URL: https://www.plutobooks.com/9780745316422/art-in-the-age-of-mass-media/ Curtis, Penelope. (2001). Sculpture 1900-1945. Oxford University Press. URL: https://global.oup.com/academic/product/sculpture-9780192842057?cc=us&lang=en& Dorment, Richard. (2012). Damien Hirst: Why the artist is more important than the art. The Telegraph. Retrieved from https://www.telegraph.co.uk/culture/art/9572193/Damien-Hirst-Why-the-artist-is-more-important-than-the-art.html King, Elliott H. (2008). Damien Hirst and the Death of Art. New England Review, 29(3), 139-144. URL: https://www.jstor.org/stable/30042283 Mullins, Edwin. (2006). The Painted Word: British Conceptualism 1964-1989. Ridinghouse. URL: https://www.ridinghouse.co.uk/publications/44/ Knight, Christopher. (1999). For Art's Sake: An Open Letter to Charles Saatchi. Los Angeles Times. Retrieved from https://www.latimes.com/archives/la-xpm-1999-jun-20-ca-48476-story.html Wullschlager, Jackie. (2009). The Stuckists: punk art rebels. Financial Times. Retrieved from https://www.ft.com/content/0c413354-9299-11de-aed2-00144feabdc0 Morris, Catherine. (2003). Strange Pilgrimages: Damien Hirst's “End of an Era” and the Production of British Art History. Oxford Art Journal, 26(1), 35–52. URL: https://academic.oup.com/oaj/article/26/1/35/1346697 Molloy, Sean. (2008). Hirst's animal art under investigation. The Independent. Retrieved from https://www.independent.co.uk/arts-entertainment/art/news/hirsts-animal-art-under-investigation-771465.html Cohen, Patricia. (2009). Art Review: Death Be Not Proud? The New York Times. Retrieved from https://www.nytimes.com/2009/06/01/arts/design/01hirst.html Gleadell, Colin. (2010). Damien Hirst: What's the Big Idea? The Telegraph. Retrieved from https://www.telegraph.co.uk/culture/art/artsales/7626885/Damien-Hirst-whats-the-big-idea.html Dorment, Richard. (2008). Damien Hirst: This artist's a sensation, but is he a great artist? The Telegraph. Retrieved from https://www.telegraph.co.uk/culture/art/3673577/Damien-Hirst-This-artists-a-sensation-but-is-he-a-great-artist.html Chilvers, Ian, and Glaves-Smith, John. (2009). A Dictionary of Modern and Contemporary Art (2nd ed.). Oxford University Press. URL: https://global.oup.com/academic/product/a-dictionary-of-modern-and-contemporary-art-9780199239658?cc=us&lang=en& Robertson, Jean. (2006). The Art Business. Routledge. URL: https://www.routledge.com/The-Art-Business/Robertson/p/book/9780415364796 Find out more at https://three-minute-modernist.pinecast.co

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.

La relación entre cultura popular, publicidad y sociedad de consumo con el arte llegó a su cenit con los Young British Artists. Estos fueron un grupo de artistas de todos los ámbitos que estaban organizados y orquestados por el magnate de la publicidad de los 80s Charles Saatchi. Los hermanos Chapman fueron los más atrevidos de esa generación y hoy los analizamos en profundidad. Veremos sus antecedentes, su contexto y su momento álgido llegando a su decadencia e influencia en otros movimientos contemporáneos como el Street Art.

On this episode of History of the 90s, part two of our look back at the rise and fall of Brit Pop and Cool Britannia. In the 1990s all areas of British culture underwent a massive re-birth. A new wave of pop music swept the nation, the film industry was booming, the fashion world was alive with fresh new talent and a group of non-conformist Young British Artists was taking the art world by storm. Even a younger, cooler Prime Minister had moved in to 10 Downing Street. Show contact info: X (formerly Twitter): @1990shistory Facebook: @1990shistory Instagram: @that90spodcast Email: 90s@curiouscast.ca Guest Info: Daniel Rachel, 90s musician turned award-winning author. His book is called: Don't Look Back in Anger: The Rise and Fall of Cool Britannia Told by Those Who Were There. www.danielrachel.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In the 1990s all areas of British culture underwent a massive re-birth. A new wave of pop music swept the nation, the film industry was booming, the fashion world was alive with fresh new talent and a group of non-conformist Young British Artists was taking the art world by storm. Even a younger, cooler Prime Minister had moved in to 10 Downing Street. Over the next two episodes we're looking back at the era of Brit Pop and Cool Britannia. Show contact info: X (formerly Twitter): @1990shistory Facebook: @1990shistory Instagram: @that90spodcast Email: 90s@curiouscast.ca Guest Info: Daniel Rachel, 90s musician turned award-winning author. His book is called: Don't Look Back in Anger: The Rise and Fall of Cool Britannia Told by Those Who Were There. www.danielrachel.com Learn more about your ad choices. Visit megaphone.fm/adchoices

An in-depth conversation with Sarah Lucas about her life and work. Lucas, born in London in 1962, is one of the most significant artists of her generation, both in Britain, where she was associated with the 1990s movement known as the Young British Artists, and internationally, where she has been the subject of several significant recent institutional exhibitions. Her practice primarily consists of sculpture, but it is often presented in distinctive installations in dialogue with photography, in the form of prints or wallpaper. Her work is characterised by sardonic and ribald humour, informed by colloquial British language but also shot through with feminist theory and social commentary. Formed from a wealth of materials, many of them everyday found objects like newspapers, food, furniture, cigarettes and clothing, her sculptures almost always evoke the body, however crudely reduced or abstracted. And while a humdrum frankness and bawdiness are ever-present, Lucas's sense of the strange and the uncanny locate her work within the legacies of Dada, Surrealism and absurdist art in Europe and the US. She discusses her innovative approach to exhibition-making, and the liberating collaborations with Franz West that influenced them. She discusses how Yoko Ono informed some of her recent work. She reflects on an anarchic collaboration with the Austrian collective gelitin. Plus, she gives insight into her working practices and studio life.Sarah Lucas: Happy Gas, Tate Britain, London, until 14 January 2024. Hosted on Acast. See acast.com/privacy for more information.

So Chris Hipkins' big roll of the dice has happened. Two months out from the election. 61 days if you're counting GST comes off fruit and veg, Working For Families gets even more money and higher thresholds. It's a 2 billion dollar giveaway for poor vegetarians and breeders. The rest of the poor are left out. And this is it. The economic situation, both local and global, preclude any more big spend ups. We've heard Grant Robertson say that. But we've also heard Grant Robertson say many other things only to be guzumped by political expediency, so who knows? So will this do the trick? I don't think so. Nicola Willis got the GST debate out early stealing its power. Meanwhile, the increase in In Work Tax Credits and Working For Families cash is being largely ignored as it benefits only 160,000 families. Still a big number but not big enough. There's a lot of other poor people getting nothing And it's very hard to vote for Labour in 2023 after their six years in power, for two main reasons. I'm reading a book by Dylan Jones, the former GQ editor. It's all about the Nineties. Cool Britannia, Britpop, Young British Artists and politics. New Labour. Tony Blair and the Third Way. In it he talks to a former advisor to Gordon Brown who pointed out that New Labour became more obsessed with the presentation of an idea than the idea itself. The catchy phrase. The snappy nonsensical slogan. It killed them. The same malaise has befallen New Zealand's Labour since they came to power. 100,000 Kiwibuild houses. Light rail by 2021 was incredible. They seemed to have no idea how long it takes to build a piece of kit like that. Or The Road to Zero, which fails because unless you hit zero, which we won't, then the policy fails. It's in the name. This is not to say this government has achieved nothing at all, which is a common complaint. They have achieved a lot but even they seem unaware of exactly what it was. And secondly, the problem with Tony Blair became that nobody knew who he was, or where he came from, or what he stood for. Unlike his predecessor John Smith, a campaigner for the working class, Tony was just a kinder Thatcher or a more interesting John Major. But at the end of the day, you just didn't know what he was about. Other than lying about Weapons of Mass Destruction on behalf of the Americans And that's what's happened to Chris Hipkins. He's rolled back so many policies he has nothing left except a desperate desire to keep the right form having a crack, and that's not enough. What does he stand for other than sausage rolls and Barkers suits? But you can have the same criticism of Chris Luxon and the right, who are running on a campaign of repealing everything Labour has done and then giving you an inflationary tax cut. One of the slogans in play this election is Let's Take Our Country back. It's slightly depressing that six years after being promised a transformative government we've ended out with all our politicians promising a return to the policy settings of seven years ago. As if nothing has changed in the world in nearly a decade. When we ask whether New Zealand has lost its mojo and its ambition, should we really be starting with our politicians who seem to be content competing in a lightweight personality poll? And mistrust of the cynicism of politicians who will say anything to get a vote is at its peak. With our leading party polling just 34% right now you have to ask if they will really have any mandate at all come October.See omnystudio.com/listener for privacy information.

Fast zombies, a deserted London, and potato-quality digital cinematography - 28 DAYS LATER proved to be a genre-defining hit for Danny Boyle after the disappointment of THE BEACH. Humorist and Blankie favorite David Rees returns to the podcast to take us back to the immediate post-9/11 period, a mood and time which this film conjures instantly. Join us for a deep dive into the zombie canon, a tangent on the famed “Young British Artists” of the 1990s, a primer on Canadian anti-capitalist band Godspeed You! Black Emperor, and a moment of disbelief when Rees discovers that Brendan Gleeson played Donald Trump in Showtime's THE COMEY RULE.  This episode is sponsored by: DadGrass (dadgrass.com/check) Bombas (bombas.com/check CODE: CHECK) Join our Patreon at patreon.com/blankcheck Follow us @blankcheckpod on Twitter and Instagram! Buy some real nerdy merch at shopblankcheckpod.myshopify.com or at teepublic.com/stores/blank-check

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.

Here we are in 2022 navigating cancel culture, Brexit, identity politics, war in Europe. How did we get here? Did we miss something? Robert Carlyle, who played the wildcard Begbie in the '90s hit Trainspotting, is here to show us that we did. That the world we live in was shaped by the forgotten decade: the 1990s. From Hong Kong to Moscow, Cool Britannia to No Frills flights, we travel back in time to key moments in the '90s that reverberate today in unexpected ways. Episode 1. Cool Britannia As government ministers promote the Levelling Up agenda, redistributing investment from London and the South East to the North and Midlands we return to the capital in the 1990s when 'Swinging London' started to become a symbol of unequal Britain. Cultural and economic forces converged as London reinvented itself in the '90s. Britpop, Young British Artists, fashion designers, gastro pups, coffee culture all propelled the capital into what Vanity Fair coined "Cool Britannia". Robert guides us through this tumultuous decade when competing visions were unleashed about what the cities and the country should become. Featuring Geoff Mulgan, Iain Sinclair and Helen McCarthy Historical Consultant Helen McCarthy Music and Sound Design Phil Channell Producer Neil McCarthy

Today's guest is BAFTA and Turner prize nominated multi hyphenate Director - Writer - Producer - Photographer and Artist , Sam Taylor Johnson OBE. Starting her creative life as an art student in London, Sam rose to prominence as part of the Young British Artists movement of the 1990s alongside the likes of Damien Hirst and Tracey Emin, exhibiting memorable works such as a video portrait of David Beckham sleeping and her collection 'Crying Men' which depicted Hollywood icons in their most vulnerable state.From there, she turned her hand to directing with 2009's Nowhere Boy, followed by Fifty Shades of Gray and much more.Today we discuss:(04:53) How Anthony Minghella mentored Sam into filmmaking(07:36) Why short films are still the way to go for emerging Directors(08:52) Sam's imposter syndrome with Al Pacino(10:31) How to approach directing actors with example of Helen Mirren (14:07) Filming intimate scenes in 50 Shades of Grey(15:29) How to crew up a film on a low budget(23:27) Quickfire QuestionnaireIf you enjoyed this episode you'll enjoy this episode with Deadpool Director, Tim Miller.To make sure you don't miss any future episodes sign up for our mailing list here!If you liked the podcast, I would be very thankful if you could leave a short review on Apple podcasts! It only takes 30 seconds and really helps us grow and speak to more interesting filmmakers.Follow Red Carpet Rookies on Instagram, Twitter or Youtube

Episode 29 - Pick-A-Doodle Show Notes Lessons from David Hockney's "worst" work. Introduction David Hockney's Piccadilly Circus Underground Logo Original London Underground rondelle Man Ray interpretation Hockney's new version Public responses Peter Saville iZod Alligator redesign Hockney signs in underground station Young British Artists collection by Charles Saatchi Jackson Pollock Walter Benjamin: "All great works of literature either dissolve a genre or create one" Andre Serrano, "Piss Christ" Sister Wendy New Statesman Hockney article Dunkin' The Vessel at Hudson Yards "Little Island" Student designed Univ. of Tennessee t-shirt Attribution theory Daniel Kahneman's new book "Noise" Hockney's "Piccadilly Circus" Send your ideas to hello@brandbox.show Apply to SVA Masters in Branding Program Please subscribe and review BrandBox on Apple Podcasts and consider hitting the Donate button on BrandBox.show! Don't forget to submit your questions, comments, and ideas for future episodes of BrandBox to hello@brandbox.show Thanks for your support!

Tracey Emin was one of the leading figures of the Young British Artists movement of the 1990s. She has recently undergone radical surgery to treat bladder cancer. For her latest exhibition - The Loneliness of the Soul – she has selected masterpieces by Edvard Munch to show alongside her most recent paintings. Mental health blogger and author of ‘F**K I Think I'm Dying: How I learned to live with panic’, Claire Eastham explains how she manages her panic attacks. She is joined by psychotherapist Dawn Estefan to discuss why we have panic attacks, how they feel and how best to cope with them. Whether you’re an experienced cyclist or if you're completely new to cycling, there's no doubt it's intimidating on the roads. Cycling expert, Aneela McKenna shares tips for how women can feel more confident while riding their bikes on the road. Rosie Ayliffe’s daughter, Mia Ayliffe Chung was killed in 2016 at a remote farmworkers’ hostel while backpacking in Australia. Since Mia's death Rosie has been campaigning to improve conditions for young casual workers, helping to change the law in three of the six states of Australia. What's behind the decline in male fertility? The global population currently stands at 7.9 billion, and is projected to peak at 9.7 billion in just over 40 years' time. Those huge numbers are often blamed on women having too many children. In reality, fertility has been in long-term decline for decades. Dr Shanna Swan, Professor of Environmental Medicine at Mount Sinai in New York thinks we should be paying much more attention to the chemicals in our environment that come from everyday products as her research is showing consistent effects on sperm counts, sperm quality and overall male fertility. Susan Rogers talks about what it was like working with Prince as his sound engineer on albums including ‘Purple Rain, ‘Around the World in a Day and ‘Sign o’ the Times’. After two decades in the music industry she left and went on to earn a doctorate in psychology. She’s now a professor of music at Berkeley College in Boston, and is being awarded the Music Producers Guild’s ‘Outstanding Contribution to Music’– the first woman to ever win the award. Whether you’re an experienced cyclist or if you're completely new to cycling, there's no doubt it's intimidating on the roads. Cycling expert Aneela McKenna shares tips for how women can feel more confident when riding their bikes. Presenter: Anita Rani Producer: Paula McFarlane Editor: Sarah Crawley

Tracey Emin was one of the leading figures of the Young British Artists movement of the 1990s. Hers is a uniquely provocative, confessional style which confronts issues such as trauma of abortion, rape, alcoholism and sexual history. Her famous artworks include: Everyone I Have Ever Slept With 1963–1995 and she came to greater prominence in 1999 with a Turner Prize nomination for her famous piece My Bed. One of her most powerful works is a hand-crafted quilt called Psycho Slut, with texts that recall her childhood abuse and personal trauma. She has recently undergone radical surgery for bladder cancer. Tracey joins Emma to discuss her latest exhibition - The Loneliness of the Soul – for which she has selected masterpieces by Edvard Munch to show alongside her most recent paintings. Last weekend the first nightclub event in the UK for over a year took place in Liverpool - with no social distancing or face coverings required. This was part of a trial to provide key scientific data on how clubbing events could safely reopen as part of the government's roadmap, which aims for all restrictions lifted by June 21. But could this be a fresh start and a chance to re-imagine how nightlife could be reopened in a way that makes women feel safer? Although clubs can be places where women have a lot of fun and let their hair down, we also know they can be intimidating spaces. Bryony Beynon is the Managing Director of the Good Night Out Campaign, Alice Fuller is the manager and co-ordinator of Corsica studios at Elephant and Castle in London and Jess Flaherty is a reporter for the Liverpool Echo who actually went clubbing last weekend. How can you better communicate with your child, whatever their age, to help ensure they have good future mental health? The broadcaster and author of 'There’s no such thing as Naughty’ Kate Silverton, and Dr Sheila Redfern from the Anna Freud Centre discuss.

Today, chART offers you a spotlight on yet another member of the Young British Artists. Sarah Lucas was, according to many, the wildest of the generation, a constant source of shocking and provocative art that was, in many ways, ahead of her time. Her use of bawdy humor and visual puns is just the façade of a deeper message of sex and gender deconstruction. Her artworks constantly attack stereotypes and expectations, challenging the viewer to see them in the outside world for themselves once the exhibition is over. To learn more about her fascinating production, tune in to this week's episode!    For email enquiries: chart podcastgmail.com Make sure to follow us on our socials!  INSTAGRAM: https://www.instagram.com/chartpodcast/  Here you can see on which different platforms you can listen to our podcasts! https://pod.link/1517293067  That's it for now! Hope to see you again in our next episode!  chART out!  (Love you, bye)

Today, the chART squad is tasked with going through the work of the woman that turned your usual student dorm mess into a Turner Prize-winning artwork with My Bed (1999). Tracey Emin is known for taking confessional and autobiographical art to a whole new level, earning the honour of being regarded as the enfant terrible of the Young British Artists. Painting, drawing, sculpture, film, neon… you name it, she's done it. Wanna know more about this Renaissance woman out of a Tim Burton movie? Tune into this week's episode! Make sure to follow us on our socials! INSTAGRAM: https://www.instagram.com/chartpodcast/ TWITTER: https://twitter.com/ChartPodcast Here you can see on which different platforms you can listen to our podcasts! https://pod.link/1517293067 That's it for now! Hope to see you again in our next episode! chART out! (Love you, bye)

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.

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.

Joining British GQ’s chief content officer Jonathan Heaf for a mid-morning pick-me-up at London’s White City House is Sam Taylor-Johnson. First rising to prominence in the 1990s as one of the Young British Artists, Taylor-Johnson has since carved out a career as a filmmaker, making her debut with the celebrated John Lennon biopic Nowhere Boy. Over tea and cake, Heaf and Taylor-Johnson discuss everything from life after art to Taylor-Johnson’s latest film A Million Little Pieces.

The artist Sam Taylor-Johnson began her career as a photographer, part of the Young British Artists set. She moved into film and became a household name when she took the helm of Fifty Shades of Grey. She talks about her new film A Million Little Pieces, based on a story by James Frey , the challenges for women in the industry and what it's like directing your husband's love scenes. Cara Delevingne is one of the most recognisable faces in the world with over 43 million followers on Instagram alone. She’s spoken openly about her sexuality and issues with severe depression. She began modelling when she left school but is now is concentrating more on her acting career. She plays the lead role in a new Victorian fantasy drama series Carnival Row. She joins Jenni to discuss her role as Irish ‘faery’ Vignette Stonemoss opposite human detective Rycroft Philostrate played by Orlando Bloom. Plus new research into the profile of men who kill their partners that could save lives. And we take a trip to Looe Island - now owned by the Cornwall Wildlife Trust - for a bit of seal watching and hear from Claire Lewis and her partner John who's the warden. Presenter: Jenni Murray Producer: Beverley Purcell Guest: Sam Taylor-Johnson Guest: Cara Delevingne Guest: Dr Jane Monckton

Click here to buy: https://adbl.co/2Zr1R4f Read by Paul McGann, Louise Brealey, Tania Rodrigues, Shvorne Marks, Jot Davies, David John, Dean Williamson and Charles Armstrong. Introduced by Daniel Rachel, and featuring audio-exclusive extracts from Daniel's source interviews. The nineties was the decade when British culture reclaimed its position at the artistic centre of the world. Not since the 'Swinging Sixties' had art, comedy, fashion, film, football, literature and music interwoven into a blooming of national self-confidence. It was the decade of Lad Culture and Girl Power; of Blur vs Oasis. When fashion runways shone with British talent, Young British Artists became household names, football was 'coming home' and British film went worldwide. From Old Labour's defeat in 1992 through to New Labour's historic landslide in 1997, Don't Look Back In Anger chronicles the Cool Britannia age when the country united through a resurgence of patriotism and a celebration of all things British. But it was also an era of false promises and misplaced trust, when the weight of substance was based on the airlessness of branding, spin and the first stirrings of celebrity culture. A decade that started with hope then ended with the death of the 'people's princess' and 9/11 - an event that redefined a new world order. Through sixty-seven voices that epitomise the decade - including Tony Blair, John Major, Noel Gallagher, Damon Albarn, Tracey Emin, Keith Allen, Meera Syal, David Baddiel, Irvine Welsh and Steve Coogan - we re-live the epic highs and crashing lows of one of the most eventful periods in British history. Today, in an age where identity dominates the national agenda, Don't Look Back In Anger is a necessary and compelling historical document.

Nick Fudge is a British painter, sculptor and digital artist. He studied at Goldsmiths College in London alongside fellow students such as Damien Hirst, Sarah Lucas, Gary Hume and David Landy under the tutorship of Michael Craig-Martin and Jon Thompson. Such was the talent of this emerging group of artists, they attracted the attention of the top London Galleries and investors and collectively they became known as the Young British Artists - a movement that revitalised the contemporary British Art scene. However, on the eve of his graduate show, Nick took the decision to destroy his collection of work and disappear. He left the UK for the United States and a 25 year long period of self-imposed exile. He became known as the Lost YBA, but he continued to work only recently deciding to return from the United States with a view to exhibiting his now large body of work. Nick, who now lives near Órgiva in La Alpujarra, talks candidly about his decision to leave behind the immediate commercial success of his fellow students and how this decision impacted both his life and his work. Support the show (http://patreon.com/IanRutter)

In this extended episode Dr Laura-Jane Foley meets the highly acclaimed actor Russell Tovey. Russell chooses ‘Night Fishing in Antibes’ (1939) by Spanish artist Pablo Picasso (1881 – 1973) and explains how a real-life encounter with the artwork had a profound effect on him. In this wide-ranging and engaging chat, which also covers Russell’s love of animation, Ad Reinhardt, the Young British Artists and how he has built his own art collection, Russell reveals some truly fascinating art world anecdotes. Describing the art world as magical and his “secret garden”, Russell’s exuberant love of art shines through in this must-listen episode. To comment on the show please write to @laurajanefoley on Twitter and use the hashtag #MyFavouriteWorkOfArt Presented and produced by Dr Laura-Jane FoleyRecorded and edited at Wisebuddah, LondonTitle Music - 'Blue' from Colours by Dimitri Scarlato See acast.com/privacy for privacy and opt-out information.

As George Michael's collection of contemporary art, dominated by Young British Artists, goes under the hammer in London, we speak to Paola Saracino Fendi from Christie's about the collection and then report on the sale immediately after the final fall of the gavel. What does it tell us about the YBA market and the pull of celebrity auctions?Plus, we speak to the artist Shezad Dawood about Encroachments, his new installation for the Sharjah Biennial, featuring a virtual reality work. See acast.com/privacy for privacy and opt-out information.

Russell & Robert talk with leading artist Sir Michael Craig-Martin CBE exploring 50 years of art-making. From his early 1960s work as a conceptual artist culminating in the seminal ‘An Oak Tree’ (1973) through to more recent decades as an internationally-renowned painter, sculptor and printmaker as well as his influential role as a teacher to two generations of Young British Artists at Goldsmiths. See acast.com/privacy for privacy and opt-out information.

Three underpowered fantasy heroes, human, half-elf and dwarf, come face-to-face with An Ancient Red Dragon, most feared of all the magical beasts. It will probably kill them in seconds. There is a danger most of this episode is sobbing followed by the creation of new characters. This episode is chock-full of references to the Hobbit, the Young British Artists of the 90s, and the Swansea Valleys. Chaotic Adequate is a comedy fantasy roleplay podcast from the people behind Science Showoff, Jack Left Town, Bright Club, Masterpiece Bookshelf and more. Join three professional comedians and a real-life scholar of horror for adventures in an incredible world of goblins, elves, magic and bickering. Chaotic Adequate is written and produced by Gregory Akerman. It stars Angus Dunican, Steve Cross and Amanda DiGioia. It’s recorded by Steve Cross. Chaotic Adequate theme by Ian Bowkett. Red Dragon voiced by Sarah Jones. “And Previously…” music by Douglas Dillingham/ZombieSquid Pictures. Chaotic Adequate logo drawing and artwork by Kimberley Freeman. We play Dungeons and Dragons 5th Edition, dnd5e and the podcast features actual play.

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.

THE YOUNG BRITISH ARTISTS raccontati da Diego Mantoan

Sarah Lucas burst onto the art scene in the early 1990s, one of the wildest and most provocative of the Young British Artists. Her work was challenging, bawdy, revolutionary: her first solo show in 1992 was called "Penis Nailed to a Board". She challenged macho culture with sculptures such as "Two Fried Eggs and a Kebab" in which she constructed a naked female body - from a table, two eggs, and a kebab. Lucas makes sculptures from worn-out furniture, stuffed tights, fruit (particularly bananas), and cigarettes - she's a passionate smoker. In 2015 she represented Britain at the Venice Biennale, and the centrepiece with a massive yellow sculpture named after the footballer Maradona - part man, part maypole, with dangling breasts and a nine-foot phallus. In Private Passions, Sarah Lucas looks back on the wild days of the 90s, and her upbringing in North London "a childhood completely without ambition". She talks about leaving school at 16, becoming pregnant, but then deciding not to keep the baby; and how that decision enabled her to know clearly what she wanted to do with her life. She reflects on how the central relationships in her life lead to artistic collaboration - with her partner, the composer Julian Simmons, and with her girlfriends, whose lower bodies she cast in plaster. And Sarah Lucas reveals that the wild London party girl is now happiest in Suffolk, living at the end of a country lane, and listening to Benjamin Britten. How seriously are we supposed to take her work? "Just because you're funny doesn't mean you can't be serious too." Sarah Lucas's music choices include Purcell's King Arthur; songs by Benjamin Britten and Ivor Gurney; and music by her partner Julian Simmons. Produced by Elizabeth Burke A Loftus production for BBC Radio 3.

Gary Hume is associated with the so-called Young British Artists generation. Hear him talk about his practice as a painter with psychoanalyst and author Darian Leader

Andrew Marr talks to the MP Denis MacShane about the political situation in France. It's 30 years since the election of the country's first socialist president, Francois Mitterrand. The People's Pledge is campaigning for a referendum on the UK's membership of the EU, and its founder Ruth Lea argues that it's time to disregard the wishes of Brussels. The Turkish artist Kutlug Ataman explores the spirit of Mesopotamia in his latest works, where his films of water defy national boundaries. And the so-called 'godfather' of the Young British Artists, Michael Craig-Martin, showcases the art of drawing, from his original sketches using tape forty years ago, to the computer-generated drawings of today. Producer: Katy Hickman.

Sue Lawley's castaway this week is the artist Rachel Whiteread.She came to public prominence in 1993 with the life-size concrete cast of a Victorian house in East London. The sculpture prompted a public debate about what conceptual art is - the house was destroyed shortly afterwards. At the same time, Whiteread was named winner of the Turner Prize at the age of 30. She had studied sculpture at the Slade School of Fine Art and became one of the generation of Young British Artists, with her work displayed alongside that of Damien Hirst. Her most controversial work - a memorial to 65,000 Austrian Jews who died in the Holocaust - was unveiled in Vienna in 2000 amid heightened political tension. Much of her work focuses on casting hidden spaces, with the inside of a box as the inspiration for the 14,000 boxes which form her latest exhibit, Embankment, on display at Tate Modern, London, until the end of April.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: The Köln Concert Part 1 by Keith Jarrett Book: A reference book on the natural history of the island Luxury: Ink, pen, paper and correction fluid

Sue Lawley's castaway this week is the artist Rachel Whiteread. She came to public prominence in 1993 with the life-size concrete cast of a Victorian house in East London. The sculpture prompted a public debate about what conceptual art is - the house was destroyed shortly afterwards. At the same time, Whiteread was named winner of the Turner Prize at the age of 30. She had studied sculpture at the Slade School of Fine Art and became one of the generation of Young British Artists, with her work displayed alongside that of Damien Hirst. Her most controversial work - a memorial to 65,000 Austrian Jews who died in the Holocaust - was unveiled in Vienna in 2000 amid heightened political tension. Much of her work focuses on casting hidden spaces, with the inside of a box as the inspiration for the 14,000 boxes which form her latest exhibit, Embankment, on display at Tate Modern, London, until the end of April. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: The Köln Concert Part 1 by Keith Jarrett Book: A reference book on the natural history of the island Luxury: Ink, pen, paper and correction fluid