Episodios
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We meet artist Megan Rooney to explore her solo exhibition at Kettles Yard, Cambridge. Titled 'Echoes & Hours', this is the first major solo exhibition in the UK of work by Megan Rooney (b. 1985, South Africa). Her paintings have an irresistible life and energy, renewing the potential of abstraction to embody the richness of the visual world. It is curated by Andrew Nairne and Amy Tobin.
This spectacular show is in it's final weeks, running until 6th October 2024, and we strongly recommend visiting! In June 2024, Rooney spent three weeks making a new âmuralâ, painting directly on the walls of one of Kettleâs Yardâs two galleries. In the other gallery a group of new paintings is exhibited for the first time.
Created in âfamily groupsâ, the size of the canvases she uses are determined by the reach of her outstretched arms. Vibrant colour and line appear boundless, capturing the ebb and flow of their making, from the use of abrasives to remove pigment to repeated overpainting. Each work tells a compelling story, poetically recalling the real, the remembered and the imagined â inviting visitors into their restless and pleasurable worlds.
An enigmatic storyteller, Megan Rooney works across a variety of media â including painting, sculpture, installation, performance and language â to develop interwoven narratives. The body in her work, as both the subjective starting point and final site for the sedimentation of experiences explored through her practice. The subjects of her works are drawn directly from her own life and surroundings, while her references are deeply invested in the present moment. She addresses the myriad effects of politics and social conventions that manifest in the home and on the female body. Recurring characters and motifs form part of a dreamlike narrative that is never fixed, but obliquely references some of the most urgent issues of our time.
Painting on uniform canvases measuring 200 x 150 cm â the wingspan of the average woman â Rooney presents layers of ethereal forms, often sanded back and painted over multiple times to create abstracted narratives without a discernible beginning or end. 'Each painting is a capsule of time and space,' writes critic Emily LaBarge, 'a palimpsest of effort and care, a portal into an intimate conversation between artist and canvas in which the journey of the work remains pulsing just beneath its surface.' She punctuates these layers with a contrasting dash of colour or energetic line, drawing the viewer in, only to disrupt their gaze with unexpected elements. These elements are often suggestive of corporeal forms that emerge and recede from view in an otherworldly space, as if captured in the process of becoming.
Based in London, Rooney grew up between South Africa, Brazil and Canada, completing her BA at the University of Toronto followed by an MA in Fine Arts at Goldsmiths College, London in 2011. Her work has recently been shown in solo museum exhibitions, including at the Salzburger Kunstverein, Salzburg (2020â21); Museum of Contemporary Art, Toronto (2020); and Kunsthalle DĂŒsseldorf (2019).
Follow @KettlesYard and @ThaddeusRopac
Visit: https://ropac.net/artists/210-megan-rooney/
Learn more about the Kettles Yard exhibition here: https://www.kettlesyard.cam.ac.uk/whats-on/megan-rooney/
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Talk Art returns for Season 23! We meet Culture-loving Rob Rinder MBE and Architecture-fan Rylan Clark as they follow in the footsteps of 19th century romantic poet Lord Byron, and other Grand Tourists, on the 200th anniversary of his death.
We discuss Caravaggio, Murano glass blowing, Artemisia Gentileschi & her censored âAllegory of Inclinationâ (1816) and what it was like to become nude life models themselves. We explore how they met the Venice-based drag/art collective House of Serenissima, and hear all the gossip from the historic era of the Grand Tour.
Rob and Rylanâs Grand Tour follows Rob Rinder and Rylan Clark â presenters, friends, and men who love the finer things in life â as they discover the greatest art treasures in Italy, finding out more about themselves along the way. Together, they retrace the steps of countless English aristocrats who took the Grand Tour â the original gap year â leaving behind the confines of British society for freedom and discovery abroad. But can the Grand Tour still work its magic today?
Starting their journey in the winding canals of Venice, Rylan and Rob are ready to embark on the Grand Tour, once a cultural rite of passage designed to turn young men into distinguished gentlemen. In the city, they unveil one of the largest canvas paintings in the world, Tintorettoâs Il Paradiso, leaving them in awe. They also learn about the legacy of Italian painter Canaletto before heading off to the quaint island of Murano, famous for its glass blowing art. Rob, a lover of opera and poetry, attempts to realise a lifelong dream by conducting Vivaldiâs Four Seasons in the same church it was first performed in. Meanwhile, Rylan learns all about the lesser known side of the famous Venice Carnival.
In episode two, Rob and Rylan head to the Renaissance city of Florence, the âBeating Heart of Tuscanyâ. Famous for its many museums and art galleries, this charming city is oozing with history around every corner. Set out to uncover the secrets of the Renaissance period, the pair soak up the sights, including the well known Uffizi Gallery in the historic centre, home to pieces by legendary artists Leonardo da Vinci, Michelangelo and Raffaello. They go on to visit more iconic locations: the Stibbert Museum, the Bargello Museum, Piazzale Michelangelo, Piazza Santa Croce during the final of the Calcio Storico, Piazza della Signoria, Piazza Santa Maria Novella, and Ponte alle Grazie. Along the trip, the duo learnt what it meant to be a Grand Tourist, trying on flamboyant Italian looks, fencing, dancing.
On their final stop, the dynamic duo head to Italyâs capital city, Rome. Here they enjoy exploring the classical ruins of the famous Colosseum and the Roman Forum as well as the Pantheon. Channelling their love of opera, Rylan and Rob enjoy a rooftop performance with sensational views of the city in the background.
Rob and Rylanâs Grand Tour is available now to stream on BBC iPlayer.
Follow @RobRinder and @Rylan
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Talk Art Live! We meet artist Studio Lenca (Jose Campos) within his recent solo exhibition 'Leave to Remain' at Carl Freedman Gallery in Margate.
âLeave to Remainâ is the official term used by the UK Home Office, meaning someone who is allowed to stay in the UK with restrictions and without permanent legal status. According to the latest data from the UNHCR, 70.8 million people around the world have been forced from their own homes. Among them are 25.9 million refugees, over half aged under 18. In this latest body of work, Studio Lenca continues to explore his own displaced experience whilst questioning universal themes of belonging, home and lost histories.
Growing up as an illegal immigrant, Studio Lenca travelled illegally overland to the USA, growing up âwithout papersâ in San Francisco. As a young adult the artist moved to the UK, settling in Margate where he is now based. In his âLos Historiantesâ paintings Studio Lenca continues to play with the frames of history and identity. This new series depicts the folkloric dancers that theatrically re-enact stories of colonisation and the subjugation of indigenous peoples. The work playfully references a combination of biographical anecdotes, personal reflections and national iconography.
Alongside his characteristically vivid paintings, Studio Lenca will collaborate with KRAN (Kent Refugee Action Network), turning Carl Freedman Gallery into a working studio. Young refugees and asylum seekers will work with Studio Lenca to build large sculptural works based on the volcanoes of El Salvador. These works will explore the âborderlessâ process of making and reference the artists own problematic encounters with a colonised education system.
Leave to Remain, offers a critical window within the gallery and a space for discussion. The show asks us to address Margate as a border town and who is allowed to leave and to remain.
Studio Lenca (b.1986 La Paz, El Salvador) is based at TKE Studios, Margate, UK.
Studio Lenca is the working name of artist Jose Campos â âStudioâ referring to a space for experimentation and making; âLencaâ referring to the Mesoamerican indigenous people of southwestern Honduras and eastern El Salvador.
He works with performance, video, painting and sculpture. He received an MA from Goldsmiths University of London and his work is included in the permanent collection of the PĂ©rez Art Museum Miami and the Parrish Art Museum in New York.
Follow @StudioLenca
Visit: https://carlfreedman.com/exhibitions/2024/studio-lenca/
Special thanks to @CarlFreedmanGallery (where Talk Art's Robert Diament is Partner).
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We meet Precious Okoyomon â poet, artist, and chef â stages sculptural topographies composed of living, growing, decaying, and dying materials, including rock, water, wildflowers, snails, and vines. For Okoyomon, nature is inseparable from the historical marks of colonisation and enslavement. In their work, plants like kudzu â a vine native to Asia that was first introduced by the US government to farms in Mississippi in 1876 as a means to fortify erosion of local soil, which had been degraded by the over-cultivation of cotton, and then turned to be uncontrollably invasive â become metaphors for the entanglement of slavery, racialisation, and diaspora with nature, nonetheless holding the capacity for change and revitalisation.
Through their work, Okoyomon explores the intricate interplay between nature, chaos, and regeneration. Raised in the expanses of Ohioâs Midwest, Okoyomonâs formative years were steeped in the natural world. âMy first love is very much the Earth, the soil,â they say in this new episode of âMeet the artists.â The sentiment informs their multifaceted practice, encompassing installations, poetry, and culinary arts. Characterized by what they describe as an âorganic flow,â in their work each medium seamlessly intersects with the others to create âthe endless poem.â
Their invasive garden installations frequently feature kudzu, a vine introduced to the American South post-slavery, which Okoyomon employs as a potent metaphor for colonization. The kudzuâs unrestrained growth overtakes a space, embodying themes of chaos and natural reclamation. âWhat dies, dies. What grows is sprung up inside of that. And the beauty of everything is that it regenerates,â they explain, underscoring the cyclical nature of their practice.
Precious Okoyomonâs work can be seen at Fondation Beyelerâs âSummer Showâ, May 19 ââŻAugust 11, 2024. They have also co-conceptualized the show. Their work is also on view as part of the Nigerian Pavilion at the 60th Biennale di Venezia 2024.
Follow @DevilInTraining
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We meet artist Puppies Puppies. Jade Guanaro Kuriki-Olivo (b. 1989, Dallas, TX), widely known by the moniker Puppies Puppies, expands ideas around the readymade by imbuing ubiquitous and everyday objects, signifiers, and actions with a personal and political charge. Puppies Puppies works across sculpture, installation, and performance art.
She has, for example, reconfigured antibacterial gel dispensers, toilet bowl liquid, the color green, as well as the acts of sleeping, peeing, and taking a pill in installations and performances that challenge ableist frameworks of artistic and capitalist production. Many of Puppies Puppiesâs exhibitions have also included actionable components: a GoFundMe campaign to support a friendâs transition fund, free HIV testing and counseling, and a working shower available for use by the public. Kuriki-Olivo thus asserts that life can be viewed as its own form of endurance practice, especially for those whose very survival is at stake, including trans, nonbinary, and gender-nonconforming people of color.
At the Venice Biennale 2024, Puppies Puppies is exhibiting two works. A Sculpture for Trans Women... (2023) is a life-size bronze sculpture taken from a 3-D scan of the artistâs body. Emblazoned with the word âWOMANâ, the work â which will be activated with performances throughout the Biennale â subverts the power of monuments to make visible and celebrates trans life in an act of protest and commemoration.
Electric Dress (Atsuko Tanaka) (2023) pays tribute to those killed in 2016 at the mass shooting that took place during a âLatin Nightâ party at Pulse, a queer nightclub in Orlando, Florida. The sculpture references Atsuko Tanakaâs Electric Dress (1956) with LED lights that flicker to the pulse of a heartbeat and lights that cycle through the rainbow colours found in the Progress Pride Flag. Both sculptures honour queer and trans life while confronting oblivion and invisibility.
Follow @PuppiesPuppiesJade
Trigger Warning runs until 31st August @BaliceHertling gallery. Special thanks to Daniel Balice for connecting us! https://www.balicehertling.com/2024/puppies-puppies-jade-guanaro-kuriki-olivo/
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We meet Es Devlin CBE to discuss her new multi-media work SURFACING commissioned by BMW and unveiled at Art Basel in Basel 2024.
A pioneering combination of sustainable energy and movement in an installation of water, light, sound and dance. A dance collaboration and a series of mobile sound installations within a pilot fleet of BMW iX5 Hydrogen vehicles.
In Hall 1.1 of the art fair Devlin created a booth displaying four works: Surfacing (2024), an illuminated cube of rain penetrated by a line of light and Surfacing II (2024), a pair of painted televisions in which a dancing figure appears to displace pixels and pigment, are flanked by Mask (2018) a projection-mapped model city fusing hands and river, and Mask in Motion (2018) a revolving illuminated translucent printed city which meshes viewers within its kinetic shadow.
Each work continues Devlin's 30 year exploration of the entangled dance between humans and technology. The booth surprises visitors each hour as Surfacing's box of rain, like a magician's apparatus, conjures a 7 minute dance work by renowned Paris-based choreographer Sharon Eyal with music composed by London-based duo Polyphonia.
A meeting of artist and engineers: Devlin has spent the past year engaging with engineers at BMW, learning the mechanics behind the hydrogen fuel cell technology and its implications for the future of sustainable energy systems. As an opening chapter to the works on view in Hall 1.1, she has created a simple soundscape drawn from their conversations and underscored by composers Polyphonia which is played to guests in the pilot fleet of BMW iX5 Hydrogen vehicles.
Devlin says: âI learned from the BMW engineers the beautiful symmetry of the system at work within the hydrogen fuel cell: the energy that is used to separate hydrogen atoms from oxygen is recreated when the oxygen is reunited with hydrogen within the car. The by-product is not only the energy which propels the vehicle, but water.â
The exterior of the BMW iX5 Hydrogen has been wrapped in a painted blue and white collage in which Devlin overlays paintings and text made in response to the prints and literature which populated her wall and bookshelves as a teenager. Painted gestures echoing the 1831 woodcut âThe Great Wave off Kanagawaâ by Japanese artist Katsushika Hokusai, are superimposed over hand written extracts from literatureâs longest sentence about water drawn from James Joyceâs seminal novel âUlyssesâ. Underlying the collage are excerpts from BMW Group publications on hydrogen fuel cell technology.
Artist and Stage Designer, Es Devlinâs work explores biodiversity, linguistic diversity and collective ai-generated poetry. She views the audience as a temporary society and encourages profound cognitive shifts by inviting public participation in communal choral works. Her canvas ranges from public sculptures and installations at Tate Modern, V&A, Serpentine, Imperial War Museum and United Nations General Assembly, to kinetic stage designs at the Royal Opera House, the National Theatre and the Metropolitan Opera, as well as Olympic ceremonies, Super-Bowl half-time shows, and monumental illuminated stage sculptures for BeyoncĂ©, The Weeknd, Dr Dre, Kendrick Lamar and U2.
Visit: https://EsDevlin.com/ and Follow @EsDevlin and @BMWGroupCulture
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We meet artist Jean Claracq to discuss painting, his recent shows with Galerie Sultana in Paris and Arles, plus what its like living and working from Marseille and its growing artistic community.
Jean Claracq brings the past forward via savvy remarks on the culture industry of the 21st century. Claracqâs paintings exploit, in the most delicate and refined form, the language of advertisement and social media to construct desire, fascination, and lust. With eclectic references that range from medieval paintings to elements of contemporary pop culture, a dystopian view of the joie de vivre unveils a new alternative to the divine perception of the world.
In his work, Jean evokes the ambiguity between joy and pleasure mixed with the anguish of an unstructured world on the verge of collapse. He evokes the architecture and study of suburban areas, in particular car parks, the symbol of a world alienated by consumerism to the point of sacrificing its own existence.
In 2023, he was awarded the Prix Pierre Cardin in Painting by the Académie des Beaux-Arts. Painter of miniatures and icons, Jean Claracq contributes to the dialogue between painting and digital art. His models come from social networks (Instagram, Grindr) and are part of a gay, marginal or culturally different community. They interact with many references to the history of old master painting (especially schools form Northern Europe). Attached to traditional techniques (oil on wood, attention to the smallest details), he plays with the possible reading levels and accurately depicts our relationship to screens and loneliness in an urban environment.
Claracq was Born in 1991 in Bayonne, France. Graduated from Beaux-Arts de Paris in 2017, his recent solo exhibitions include Open Space # 7 Jean Claracq, Fondation Louis Vuitton, Paris (2020), Fondation Sisley (2020), and group shows Boys Donât Cry, Le Houloc, Aubervilliers (2020), agnĂšs b., La Fab., Paris (2020).
Follow @JeanClaracq
Visit @GalerieSultana
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We meet Dominique Fung (b.1987), a Canadian artist with ancestry in Hong Kong and Shanghai, whose practice explores the subliminal liminal territory in which tradition, memory and legacy seep through our collective subconsciousness. Through her interest in casting light on overlooked or forgotten stories and her use of specific historical artifacts she infuses with living qualities and complex non-linear narrative paths, she models a new, broader, alternative space of belonging. She lives and works in New York.
Fung's creations in her recent solo exhibition (Up)Rooted served as portals to ancient memories and drifting reveries. They beckon the artist to revisit her own roots, anchoring her to a specific era, geographic origin, and emotional state. Alongside her series of paintings, Fung delves into the realm of sculpture, crafting pieces that resemble ancient relics inspired by Scholars' rocks â geological formations with deep historical significance. Scholars' rocks are often referred to as the "bones of the earth" and likened to the "petrified roots of clouds." They not only represent landscapes like mountains but also embody nature itself. Eroded into intriguing shapes, scholars' rocks have been cherished since ancient times by China's intellectual elite as objects of contemplation. Their original name is gongshi, a word written in Chinese using the characters for 'worship' and 'stone.' Fungâs own gongshi sculptures are designed as living entities, engaging in activities like fishing, blossoming flowers, and hiding fish.
Hailing from Ottawa in Canada, with family roots extending from Shanghai, Hong Kong to Kano in Nigeria, Fung elaborates: âMy family lineage has these multiple layers of disconnect due to language and location; we are in search of the ability to communicate and connect with one another. In my art practice, I yearn for that missing piece, that history, and connection, and my works embody a profound sense of longing and distance.â
Fung's exploration is vast, ranging from sea life to artifacts from the Tang and Shang Dynasties. Her curiosity also leads her to delve into the world of Dunhuang frescoes. Through these multiple sources, Fung finds a way to reconnect with a distant past that resides across oceans and centuries: her sense of Chinese heritage is deeply influenced by the objects she encountered both at home and during visits to the Asian art section at the Metropolitan Museum of Art in New York. Fung reflects on these museum relics as akin to herself, distanced and often removed from their original contexts by vast oceans and the passage of time.
Follow @DominiqueFung
Visit: https://massimodecarlo.com/artists/dominique-fung
Special thanks to Massimo De Carlo.
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We meet curator and writer Gemma Rolls-Bentley to discuss her debut book Queer Art, recorded in front of a live audience at the Turner Contemporary in Margate. With nearly 200 artworks selected by Gemma, this book mixes the high-brow with the low, gallery stalwarts with Instagram stars, and the racy with the fabulous. This is a unique celebration of queer life â a must-have for the LGBTQI+ community, art lovers and anyone interested in the culture surrounding queer identity.
The twentieth century saw key shifts for the LGBTQI+ community across the western world: from the Stonewall uprising to the first pride parades and homosexuality law reforms. The years following these milestone moments have seen queer life face new challenges, celebrations, injustices and liberations. As ever, this journey has been closely mapped by art and culture. Artists working across all mediums from painting, performance, digital and beyond have captured key moments, from the HIV/AIDS crisis and the rise of drag, to marriage equality and the fight for trans liberation.
Gemma was born and raised in South Yorkshire. She spent her early years living on a farm and then in a village on the Yorkshire/Derbyshire border at the edge of Sheffield, where her parents still live. She left when she was 18 to go to Edinburgh University to study Maths & A.I. but graduated with a degree in Art History instead. When she moved to London to do an MA at the Courtauld Institute of Art she discovered that everyone in the art world was posh. She changed her surname to Rolls-Bentley on Facebook as a joke and it stuck. Gemma curated her first exhibition when she was a student in Edinburgh, a group show of fine art students in an abandoned travel agents. She's been curating ever since.
She's spent almost two decades working passionately to champion diversity in the field. Curating exhibitions and building art collections internationally, her curatorial practice amplifies the work of female and queer artists as well as providing a platform for art that explores LGBTQ+ identity. She co-chairs the board of trustees for the charity Queercircle, and sits on the Courtauld Association Committee. She was previously a trustee for Deptford X. In 2011, Gemma launched the arts arm of the East London Fawcett Group and ran their 2012-2013 Art Audit campaign.
Recent curatorial projects include Tschabalala Selfâs first public art project at Coal Drops Yard in London, the Tom of Finland Art & Culture Festival, and the Brighton Beacon Collection, which is the largest permanent display of queer art in the UK. In 2023, she curated the group exhibition Dreaming of Home at Leslie Lohman Museum of Art in NYC, and she is the host of the museumâs new podcast series.
Follow @GemmaRollsBentley
Gemma's debut book Queer Art; From Canvas to Club and the Spaces Between is out now.
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We meet Mary McCartney, world renowned photographer, film-maker and sustainable food pioneer. As a leading British creative, her work covers multiple disciplines, but is always rooted in her passion for impactful storytelling.
We meet at Claridges Art Space in London to explore her joint show 'Double Exposure' with photography legend David Bailey. Unfolding like a conversation between two friends, Double Exposure: David Bailey & Mary McCartney brings two era-defining British photographers into dialogue for the first time. Curated by Brandei Estes, this striking series of works spans the 1960s to the present day â exploring a shared aesthetic of reinvention, play and the art of portraiture itself.
Mary McCartneyâs insightful gaze reveals enigmatic and evocative portraits of celebrity icons, from Kate Moss to Harry Styles. Like Bailey, thereâs a dash of the theatrical and performative in her photographs. But set alongside everyday moments â a ballet dancer âoff pointeâ or a woman hailing a taxi â she conjures the sense that anything, or anyone, could be a subject.
As a portrait and fine art photographer, McCartneyâs work has been featured globally, with exhibitions taking place in London, New York, France and in 2015 was invited by Buckingham Palace to take the official photograph to mark Queen Elizabeth II becoming the longest reigning Monarch. Her work is held in major private and public permanent collections including the Victoria and Albert Museum, London; the National Portrait Gallery, London; The Royal Academy, London; and the Fondation dâentreprise HermĂšs, Paris, and has been commissioned by leading publications including National Geographic, British Vogue and GQ.
In 2023, McCartneyâs first feature documentary If These Walls Could Sing, the untold story of the Abbey Road Studios 90 year history, was selected to premiere at The Telluride Film Festival. Streaming globally on Disney, and was nominated for a Critics Choice Documentary Award.
McCartney has also been at the forefront of food sustainability for over 25 years, with a history and heritage rooted in her motherâs pioneering work and creation of one of the first meat free brands Linda McCartney Food in 1991. In 2009, Mary co-founded the global collective Meat Free Monday with her father and sister, and is a global ambassador for Green Common Foods, a food tech brand in Asia that is focused on plant based meat substitute products. McCartney has also executive produced and presented three seasons of her EMMY nominated plant based cooking show, âMary McCartney Serves It Up!â for Discovery+.
McCartney is a multi-published author, with a range of fine art photography books available from globally renowned publishers including, HENI and Chatto & Windus. Combining her passion for food and publishing, her latest book Feeding Creativity, published by TASCHEN is a unique hybrid coffee table, portrait and recipe book, featuring favourite recipes for friends, family, and members of the creative community.
Follow @MaryMcCartney
Double Exposure: David Bailey & Mary McCartney is open to all, and will run in Claridgeâs ArtSpace until 19 July 2024. Visit: https://www.claridges.co.uk/claridges-artspace/
Thanks to Katy Wick and The Wick.
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We meet artist Corbin Shaw, live from the Crossed Wires podcast festival in Sheffield's City Hall.
Corbin Shaw (b. 1998) is a British artist based in East London, originally from Sheffield. Exploring the complex realm of masculinity and identity through the medium of textiles. Using his upbringing in a South Yorkshire ex-mining town Corbin investigate's masculinity and how it was defined to him growing up. Breaking stigmas and stereotypes through his re-imagination of masculine 'icons' and objects. The artist pays homage to the people and places that have shaped his northern identity â the pub, football pitches and boxing gyms. Collaborations include Womenâs Aid, BBC Sport & Fred Perry and had coverâs for EXIT, Perfect Magazine and Circle Zero Eight as well as features in The Guardian, The Face, Dazed and Metal Magazine.
Corbin Shaw presented his fourth London solo show âLittle Dark Ageâ at Incubator, Marylebone, where he explores modern day Britishness through ancient crafts, exploring what is the meaning of tradition and questioning what it means to be âEnglishâ today.
Follow @CorbinShaww
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Talk Art Live, recorded at Apple Covent Garden. We meet Rebecca Lucy Taylor aka Self Esteem to celebrate her first new music in 3 years, the new single Big Man featuring Moonchild Sanelly.
Recorded in front of a live audience of 400 art lovers, we explore her rise to fame over the past few years, what it was like playing the Sally Bowles lead in Cabaret on London's West End and her love of art and how artists continue to inspire her creative process while recording her third album. We discuss her admiration for artists including Lindsey Mendick, Marina AbramoviÄ, Tracey Emin, Cindy Sherman, Corbin Shaw and Jenny Holzer. Her passion for visiting museums like Yorkshire Sculpture Park, Hayward Gallery and artist degree shows, responding to Tony Soprano and masculine archetypes in her new imagery and what it feels like to be permanently hanging on the walls in the National Portrait Gallery collection in a portrait by photographer Karina Lax.
Rebecca Lucy Taylor, known professionally by her stage name Self Esteem, is an award winning English singer-songwriter. Nominated for the Mercury Music Prize for her last hit album, Prioritise Pleasure, Self Esteem had sell-out tours at ever-growing venues across the UK and played the largest gigs of her career including Glastonbury â in recognising herself and others, Rebecca Taylor has made countless people feel esteemed.
We love Self Esteem SO much! You can stream her new single, which is without doubt THE song of the summer BIG MAN, and also listen to her award-winning album PRIORITISE PLEASURE now at Spotify, Apple or wherever you listen to your music!!! View her new video for BIG MAN here: https://www.youtube.com/watch?v=mteCEloA1bs
Follow @SelfEsteemSelfEsteem on Instagram and @SelfEsteem___ on Twitter.
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For his first exhibition in London in over 20 years, New York-based artist Jack Pierson presents a new series of works at Lisson Gallery that explores love, kinship, celebration, poetry, youth, and identity. Pierson diverted from the path of documentary photographers that he studied with in Boston, and was instead drawn to punk-influenced performativity, embracing non-linear, spontaneous compilations that prioritise the expression of individual freedoms over existing narratives. He has since, through a multi-disciplinary practice, challenged conventional hierarchies by commingling mediums equally. Featuring his signature word sculptures, photographs, YELLOW ARRAY, MALE ARRAY, FEMALE ARRAY, DRAWING ARRAY (all 2024), and a series of folded photographic works, a journey through the exhibition invites viewers into a world where narratives, intimate and autobiographical, interact with those distinctly universal and inclusive.
A yellow hue echoes throughout the exhibition â a shift from Piersonâs typical blue, pink and grayscale themes â the centrepiece of this being YELLOW ARRAY (2024). A coalescence of archival pigment prints, C-type prints, cylindrical magnets, folded pigment prints, found posters, galvanized metal, paper, spray and watercolour paint, these large-scale compositions, spanning ten by fifteen-foot panels, intricately incorporate magazine pages, photographs, drawings, vintage poster and other ephemera, both personal and unfamiliar. Pierson's meticulous process of addition and rearrangement of diverse components â either produced by Pierson himself or discovered during his travels â mirrors that of a collector; each material is afforded a prominent presence within the whole.
Pierson is acclaimed for his evocative word-sculptures and installations created by re-appropriating commercial signage and large-scale vintage lettering. The first word sculpture in the exhibition is titled PETER BLAKE (2024), named after the leading English visual artist who, having created the design for multiple iconic musical records including The Beatles' 1967 album âSgt. Pepper's Lonely Hearts Club Bandâ and the 2012 Brit Award statuette, became a key figure in the pop art movement. Piersonâs sculpture embodies the connection between the two artists â one which began in the 1960s when the young artist first encountered the work of Peter Blake distributed in the media. Years later, the artists would meet, with Blake inviting Pierson to visit his studio â an encounter that left a lasting impression on both. Blake himself was inspired to create a series of word sculptures bearing Piersonâs name: Appropriating Jack Pierson, Copying Jack Pierson and Borrowing from Jack Pierson (all 2002).
While Pierson has been profoundly inspired by the work of Peter Blake â his own sculptural homage suggesting echoes of the playful and colourful arrangements of Blakeâs work â this is the first time he has reciprocated this creative exchange by producing a word piece that directly references this history. Peter Blake also carries the legacy of the transformative period of cultural exchange between the UK and US in the 1960s, intertwining personal history with wider cultural influences. The exchange between Pierson and Blake serves as a testament to the power of artistic inspiration and collaboration, transcending time and distance to create connections within the ever-evolving landscape of contemporary art.
Follow @JackPierson9 and @Lisson_Gallery
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We meet artist NathanaĂ«lle Herbelin to discuss her major solo show in Paris. A constant visitor to the MusĂ©e dâOrsayâs collections since childhood, Herbelin has been invited to put her canvases and sources of inspiration into perspective. An heiress to Les Nabis (active in Paris from 1888-1900), the artist brings their favorite subjects â daily life, domestic interiors and intimacy â up to date in resolutely contemporary compositions.
The presentation of her work at the MusĂ©e dâOrsay is very much in line with one of the focuses of the museumâs cultural project, which consists of extending âOrsayâs polyphonyâ to less classical artistic figures, in this case by presenting an emerging artist who has already won considerable critical praise. Her meteoric career since she graduated from the Paris School of Fine Arts less than ten years ago has drawn a great deal of attention and will also provide an opportunity to highlight the MusĂ©e dâOrsayâs interest in artists attending the school that is its neighbor, especially the alumni fascinated by its collections.
The Spring 2024 temporary exhibition will show how the artist delicately follows the path of the Nabis. Although the artist's subtle brushstrokes, chromatic palette, and preferred motifs may bring to mind Pierre Bonnard, Ădouard Vuillard, or FĂ©lix Vallotton, other figurative details bring us back to a more contemporary reality: the elements of modern life (cellphones and electronic power cables) that can be seen in her updated genre scenes, and the way she brings present-day issues into these compositions. Hence, the intimacy of the maternal body at her toilette may present the model in the act of depilating, or the whole genre is called into question by the transposition of a male sitter naked in the bathtub; another canvas even presents an intimate scene centered on female pleasure, or a couple depicted in the bedroom are illuminated by the midnight blue light of a portable computer set on the knees of a figure sitting up in bed.
Born in Israel in 1989 to a French father and an Israeli mother, NathanaĂ«lle Herbelin has always been drawn to make work that reflects her position within and between the two cultures. Her works contain subtle hintsâboth in subject matter and formâas windows into a world imbued with a quiet melancholy. Herbelin encourages the viewer to slow down, as a way of embracing the intimacy involved in viewing art. She has developed a formal style unique within the contemporary tendency towards figurative painting. Certain patterns and colours appear more defined than others in the softened memories that she so delicately captures. Earth tones give the works a quality evocative of a reverie and her loose brushwork recalls post-impressionist techniques. Herbelin has cited Les Nabisâa group of young painters active in Paris during the late 19th centuryâas a central influence in her practice. Most notably, she takes inspiration from the stylistic poetry that art historical figures such as Pierre Bonnard applied to domestic scenes.
This modern twist should indisputably be able to resonate with the paintings of Pierre Bonnard, Edouard Vuillard and Felix Vallotton, hung permanently in these galleries, with no conflict or impression of imitation since the world of Nathanaëlle Herbelin remains so sensitive and unique.
Follow @NathanaelleHerbelin and @MuseeOrsay
Thanks to @XavierHufkens and @GalerieJousseEnterprise
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We meet author/art critic Jennifer Higgie and Sothebyâs Chloe Stead to discuss the inspiring new exhibition âLondon: An Artistic Crossroadsâ which has just opened at Sothebyâs New Bond Street and runs until 5th July 2024. #AD / this episode is presented by Sothebyâs.
Sotheby's, in partnership with Art UK and twelve museums across the country, are staging a month-long exhibition, open to the public and free of charge, shining a spotlight on the UK as a centre of creative cross-pollination.
The exhibition, âLondon: An Artistic Crossroadsâ, brings together an assemblage of remarkable works by artists who passed through or settled in the UK during their lifetime. The earliest of the works is a vivacious portrait by Flemish artist Marcus Gheeraerts the Younger, who became one of the most sought-after portraitists in England during the 16th century. It is joined by a vibrant landscape by AndrĂ© Derain, for whom London was a place of explosive transformation, as well as an iconic
Composition by Piet Mondrian who, out of fear of German invasion and encouraged by Ben Nicholson, left Paris for Hampstead in 1938. Lucian Freud, Francis Bacon and Dame Lucie Rie are included in the line up, all émigrés, Freud from metropolitan Germany, Bacon from rural Ireland and Rie from Vienna, in addition to Frank Bowling, R.B. Kitaj and Dame Magdalene Odundo, among others.
The exhibition coincides with NG200 - the Bicentenary celebrations of London's National Gallery - which it is intended to complement. As the National Gallery launches its National Treasures programme, where 12 of the nationâs most iconic and well-loved paintings from the collection are lent to 12 venues across the UK, this exhibition does the reverse: bringing 12 works from major regional collections together in the capital city.
The National Gallery has long provided a source of inspiration for creatives, who look to its rich collection to further enhance their own practices. Many of the artists presented in Sothebyâs exhibition publicly acknowledged the museumâs influence over their own styles and practice, including Bacon, Freud (the subject of a landmark National Gallery exhibition â âNew Perspectivesâ â in 2022/23), Kitaj (who selected paintings for âThe Artistâs Eyeâ exhibition at the National Gallery in 1980), Bowling and Auerbach, who was even invited to show his interpretations of some of the National Galleryâs paintings in 1995.
Jennifer Higgie is an Australian writer. Previously the editor of Frieze magazine, and the presenter of Bow Down, a podcast about women in art history, she is the author of a 2021 book on womenâs self-portraits, 'The Mirror & The Palette: Rebellion, Revolution & Resistance, 500 Years of Women's Self Portraits'. Her latest book 'The Other Side: Women, Art and the Spirit World', was published in 2023. Jennifer has been a judge of the Paul Hamlyn Award, the Turner Prize and the John Mooreâs Painting Prize.
Chloe Stead is Global Head of Private Sales, Old Masters Paintings for Sotheby's. She actively works with collectors, institutions, and dealers in buying and selling works of art internationally.
Follow @Jennifer_Higgie and to learn more about the exhibition visit: @Sothebys
âLondon: An Artistic Crossroadsâ is open now and runs until 5th July at Sothebyâs New Bond Street.
Learn more: https://www.sothebys.com/en/articles/twelve-artistic-treasures-meet-in-london
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We meet KAWS aka Brian Donnelly to discuss his three major institutional exhibitions all opening in 2024. The first show has just opened at The Andy Warhol Museum, Pittsburgh and is the first time that Donnelly's work has been aligned with Warhol. Followed by the Parrish Art Museum this summer, and The Drawing Center, set to open in Autumn.
In celebration of its 30th anniversary, The Warhol presents KAWS + Warhol, the first exhibition to examine the dark themes present in the work of both artists. From skulls to car crashes, both artists deploy their signature bright colors and pop culture references while also presenting the lurid spectacle of death. The dark undercurrents in the work of KAWS and Warhol are magnified and brought into plain sight by presenting the two artists together for the first time.
KAWS will also respond to Warholâs embrace of commercialism by presenting a new series of paintings, sculptures, and installations related to his recent commission with General Mills which inserted his signature characters into the packaging for some of Americaâs most loved cereal boxes including Reeseâs Puffs, Count Chocula, and Boo-Berry. The cereal works will be juxtaposed with Warholâs iconic Brillo Boxes and his lesser-known series of paintings for children.
In response to The Warholâs new initiative The Pop District, KAWS will also present a monumental wooden sculpture in Pop Park, directly across from the museum and visible from its entrance space.
In July, The Parrish Art Museum will be presenting a major solo exhibition devoted to the artist KAWS, including a wide array of sculptures and paintings. This exhibition marks the first KAWS survey on the East End of Long Island.
In October, The Drawing Center, New York will open âThe Way I See It: Selections from the KAWS Collection Sinceâ. Since the mid 1990s, the artist KAWS (Brian Donnelly) has collected over 3,000 works on paper by a wide variety of artists, ranging from Abstract Expressionist painter Willem de Kooning to graffiti writer Dondi. His collection is particularly rich in drawings by self-taught artists, historical and contemporary, comic artists, and graffiti artists. It contains masterpieces by Adolf Wölfli, MartĂn RamĂrez and Helen Rae, extraordinary sketchbooks pages by legendary graffiti writers like Lee Quiñones, comics by Robert Crumb and Rick Griffin, and a cache of drawings by Chicago Imagist artists including Jim Nutt, and Gladys Nilsson, among many others. For this exhibition, KAWS will curate a selection of more than two hundred drawings from his collection in an exhibition of his own design that will occupy the entirety of The Drawing Centerâs gallery spaces.
Follow @KAWS on Instagram.
This is our second episode with KAWS and we strongly recommend you visit his 3 exhibitions in 2024. Learn more @TalkArt
Visit KAWS x WARHOL, now open: https://www.warhol.org/exhibition/kaws-warhol/
Visit KAWS X Drawing Center, from October 2024: https://drawingcenter.org/exhibitions/kaws-collection
Visit KAWS x Parrish Art Museum, from July 2024: https://parrishart.org/exhibitions/kaws/
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We meet artist ShaqĂșelle Whyte to explore his current solo exhibition at Pippy Houldsworth Gallery in London.
Whyte imagines fictional environments in his paintings, creating an enigmatic atmosphere that contributes to his psychoanalytic approach. The painted medium is paramount for the artist whose broad, loosely rendered brushstrokes are mirrored in his expansive compositions, in which time and space expand and contract across the canvas. Although non-linear, narrative plays a central role in Whyteâs work, which sees him carry certain motifs over from one painting to the next. These recurring details contribute to the sense of theatre that pervades his work; Whyte directs his subjects as though they are actors and his canvas a stage.
Despite excluding himself from the work representationally, the stories he crafts reflect his everyday life and innermost thoughts. The figures in Whyteâs paintings act as conduits for his subconscious. Giving form to thought through paint, he generates a sense of introspection through his charactersâ often averted or guarded faces. At once enigmatic and familiar, Whyteâs paintings evoke the surreal and shape the ephemeral, ultimately leaving his world open to the viewerâs own interpretation.
ShaqĂșelle Whyte (b. 2000, Wolverhampton) lives and works in London. He received a BA in Fine Art from the Slade School of Fine Art and an MA at the Royal College of Art. He is currently exhibiting his first solo show with Pippy Houldsworth Gallery, Yute, youâre gonna be fine. Recent group shows include Present Tense, Hauser & Wirth, Somerset (2024); Buffer, Guts Gallery, London (2022); Seasons in the City, curated by Artuner, Palazzo Capris, Turin (2022); Showstopper, Saatchi Gallery, London (2022); and WHAT NOW?, PM/AM Gallery, London (2022). Whyte has taken part in residencies at The Fores Project, London (2022); AM/PM, London (2022); and the Denise Israel Scholarship, Rome (2021), amongst others.
Follow @Shaq.Whyte and @PippyHouldsworthGallery
Visit the final weekend of ShaqĂșelle Whyte's solo exhibition. Last chance! His show runs until this Saturday 25th May: https://www.houldsworth.co.uk/exhibitions/147-shaquelle-whyte-yute-youre-gonna-be-fine/press_release_text/
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#AD - New Talk Art special episode! We meet legendary art critic Louisa Buck for a tour of Cork Street Galleries, to visit galleries including Alison Jacques, Tiwani Contemporary, Frieze No.9 Cork St, Waddington Custot, Goodman Gallery, Stephen Friedman, Marianne Holtermann and Flowers Gallery. We discover their current exhibitions but also explore the history of this iconic art street in Londonâs W1.
London Gallery Weekend, the biggest gallery weekend event in the world, returns for its fourth edition from Friday 31 May to Sunday 2 June 2024 uniting the cityâs network of world-class galleries for a three-day programme of exhibitions and events. With more than 130 participating galleries â ranging from established galleries to emerging spaces and featuring 16 new participants â London Gallery Weekend demonstrates the vibrancy and variety of the London gallery scene.
Cork Street Banner Commission
Cork Street Galleries is pleased to announce Sir John Akomfrah as the artist for its Cork Street Galleries Banners Commission 2024, which will be unveiled on Cork Street for London Gallery Weekend. Akomfrah's new work, The Secret Life of Memorable Things (2024) follows on from the artistâs presentation at the Venice Biennale, Listening All Night To the Rain, commissioned by the British Council for the British Pavilion, and continues to investigate themes and motifs that explore memory and the personality (ties) of the object, in a new form.
The commission comprises five lines of double-sided banners across Cork Street, with three banners per line and a total of 30 individual artworks, with one exhibition running from north to south of the street and another exhibition south to north.
Visit http://CorkStGalleries.com to discover more about this history of Cork Street as well as current exhibitions! #CorkStreetGalleries
Follow Louisa Buck on her new Instagram @LouBuck01
For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email [email protected]
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Talk Art exclusive! We meet Sir Elton John and David Furnish to discuss their epic, brand new exhibition Fragile Beauty. Opening this weekend, Saturday, 18 May 2024 at the V&A South Kensington.
An unparalleled selection of the world's leading photographers, telling the story of modern and contemporary photography. Discover iconic images across subjects such as fashion, celebrity, reportage and the male body. This exclusive episode was recorded in person at the South of France home of Elton & David.
Showcasing over three hundred rare prints from 140 photographers, Fragile Beauty is a major presentation of twentieth- and twenty-first-century photography, on loan from the private collection of Sir Elton John and David Furnish. Selected from over seven thousand images, the photographsâmany of which are on public display for the first timeâare era-defining images that explore both the strength and vulnerability inherent to the human condition.
Over the past 30 years, Sir Elton John and David Furnish have carefully built an unrivalled collection of photography. Remarkable in its range and depth, it's a who's who of photographer and subject ranging across disciplines from fashion and film to landscape and reportage.
This interview is also included in the accompanying new book which presents 150 of the most important photographs from artists including Diane Arbus, Richard Avedon, Nan Goldin, David LaChapelle, Robert Mapplethorpe, Tyler Mitchell, Zanele Muholi, Helmut Newton, Cindy Sherman, Andy Warhol and Ai Weiwei. Featuring an afterword from Sam Taylor-Johnson and an in-depth interview with Sir Elton John and David Furnish by Russell Tovey and Robert Diament, as well as curatorial insights into themes within the collection - Fragile Beauty shares images that are beautiful, dynamic, striking, sometimes disturbing but always inspiring. Buy the book from Waterstoneâs, the V&A gift shop or wherever you buy your books.
Follow @VAMuseum @EltonJohn @DavidFurnish
Visit: https://www.vam.ac.uk/exhibitions/fragile-beauty-photographs-from-the-sir-elton-john-and-david-furnish-collection
Buy tickets from the V&A, ÂŁ20.
Exhibition runs from 18th May 2024 â 5th January, 2025
Victoria & Albert Museum, London
www.vam.ac.uk
Special thanks to Elton & David, their collection Director & curator Newell Harbin, and their wonderful team at Rocket. Thank you to the incredible V&A curator Lydia Caston and the entire museum team including Rebecca Fortey.
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We meet writer OisĂn McKenna to discuss his debut novel Evenings and Weekends which is released today!
We discuss OisĂnâs passion for spoken word and performance art and discover his early years inspired by artists like David Hoyle, Penny Arcade, Taylor Mac or Lucy McCormick. We learn how museums like the National Gallery, Dublin improved his life, the impact of his art teacher, and his love of the work of Caravaggio, Doris Salcedo, Oscar Wilde and Wolfgang Tillmans. We explore the relationship between art, class, and sexuality, and how this has inspired his writing.
OisĂn makes work about love, money, health and history. Heâs interested in the ways that political, economic and social conditions shape how we act, think, and feel at particular places and times. He writes about the mundane details of peopleâs daily lives in order to tell a bigger story about the world.
âI still don't know that many writers but I know a lot of artists. Most of the conversations I have about artistic processes are with visual artists rather than writers, and I feel my process is more influenced by a visual art approach than by a literary one. The book is very concerned with aesthetics, particularly architectural aesthetics, and it pays a lot of attention to the built landscape of post-war Britain - I would say this attention is informed somewhat by a visual arts approach.â
OisĂn McKenna was born in Dublin and lives in London. He was awarded the Next Generation Bursary from the Arts Council of Ireland to write Evenings and Weekends and it was developed with further funding from Arts Council England. Evenings and Weekends has been awarded a 2022 London Writers Award and in 2017, OisĂn was named in the Irish Times as one of the best-spoken word artists in the country. He has written and performed four theatre shows, including ADMIN, an award-winning production at Dublin Fringe 2019, and has written for outlets including the Irish Times on issues such as gentrification and the alienation of Dublinâs youth.
Buy Oisin's new book now https://www.waterstones.com/book/evenings-and-weekends/ois-n-mckenna/9780008604172
Follow @Ois_McK91 & @4thEstateBooks
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