In episode 87 of The Great Women Artists Podcast, Katy Hessel interviews the very brilliant young painter, ANTONIA SHOWERING!!!

*BOOK NEWS!* I have written a book! Order The Story of Art without Men here: https://www.waterstones.com/book/the-story-of-art-without-men/katy-hessel/9781529151145

Acclaimed for her richly layered paintings of family, friends, lovers and more that occupy spaces between reality and surreality, memory and imagination, Antonia Showering paints her subjects full of conviction and full of emotion. 

Layered with narratives of, in her words, ‘stacked recollections’, her paintings can appear at once haunting and ethereal, ghoulish yet protective, and although they are personal to her, they can speak for us all. Infused with both an acidic and muted colour palette, with thick impasto and washy strokes, Antonia’s paintings deal with universal subjects on a personal level. 

Speaking about the canvas, she has said: 
“I see the canvas as a physical space where feelings of belonging or displacement, love or loneliness, intergenerational memory, superstitions and regrets can be turned into something visual and shared with the viewer.” 

Born in London, and raised in Somerset, to an English father and Swiss-Chinese mother, Antonia’s upbringing, family and heritage play central roles in her work. 

Having completed her foundation year at Chelsea, her BA at City and Guilds, and then her MFA at the Slade School of Art, Antonia, in just a few years, has become one of the most exciting young painters of her generation. Featured in exhibitions at Stephen Friedman Gallery and TJ Boulting, New Contemporaries and of course The Great Women Artists Residency at Palazzo Monti, Antonia recently had her first solo exhibition at Timothy Taylor which was met with acclaim. 

ENJOY!!!

Follow us: 
Katy Hessel: @thegreatwomenartists / @katy.hessel
Sound editing by Nada Smiljanic
Research assistant: Viva Ruggi
Artwork by @thisisaliceskinner
Music by Ben Wetherfield

https://www.thegreatwomenartists.com/

Antonia Showering

Created off the back of @thegreatwomenartists Instagram, this podcast is all about celebrating women artists. Presented by art historian and curator, Katy Hessel, this podcast interviews artists on their career, or curators, writers, or general art lovers, on the female artist who means the most to them.

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Visual Arts

I am so excited to say that my guest on the GWA podcast is one of the most exciting artists working in the world right now, Rose B Simpson.

An artist working across mediums that span from sculpture to performance, painting and ceramics, Simpson is hailed for her life size clay figures which she adorns with a plethora of symbols, extended antennas and materials – from steel, beads, leather, and wood... She challenges the nature of sculpture in ways, as she has said, that “can transform my own reality”, and her figures appear to be imbued with spirituality. They have titles like Genesis, Guides, Heights and Vital Organ – accentuating the importance of the body and rituals. 

Simpson was born, and lives and works, in Santa Clara Pueblo, New Mexico, and grew up in a multigenerational, matrilineal lineage of artists working in clay, including her mother, whose work is grounded in Pueblo traditions. Her practice is informed by Indigenous tradition, as she has said: “The work represents my own journey, whether it is a psychological investigation or a new spiritual awareness, or practical…” 

A recipient of a BFA from the Institute of American Indian Arts, an MFA in Ceramics from the Rhode Island School of Design in 2011, and another MFA in Creative Non-Fiction from the Institute of American Indian Arts in 2018, storytelling, history and making seems to be at the centre of her practice – something she has expanded on further with her artwork Maria – a black-on-black Lowrider 985 Chevrolet El Camino and artwork and named in honour of Native American artist Maria Martinez, which sits at the heart of her community in Espanola Valley – and I can’t wait to find out more! 

LINKS:
https://www.rosebsimpson.com/works
https://jackshainman.com/artists/rose-b-simpson
https://art21.org/artist/rose-b-simpson/
https://jessicasilvermangallery.com/rose-b-simpson/selected-works/
https://www.icaboston.org/exhibitions/rose-b-simpson-legacies/

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THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION:

https://www.famm.com/en/
https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037

Follow us:
Katy Hessel: @thegreatwomenartists / @katy.hessel
Sound editing by Nada Smiljanic
Music by Ben Wetherfield

Rose B Simpson

THIS WEEK on the GWA Podcast, Katy Hessel interviews Catherine Morris of the Brooklyn Museum, on the great artist JUDITH SCOTT – launching on what would have been Scott's 81st birthday!!

Scott (1943–2005) was an American artist hailed for her fibre-based sculptures that merge wheels, trolleys, locks and chairs with bundles of threads, and whose brilliantly inventive methods and obsessively spun sculptures cocoon found objects. They also served as a form of communication – which is particularly extraordinary for someone who couldn’t hear or speak verbally. A twin – her sister Joyce was born without disabilities – Scott was deaf and had Down syndrome, and through her art, which she discovered later in life, was able to communicate to the outside world.

From the age of seven, she was placed in a series of institutions, enduring horrific conditions for more than 35 years. Sadly, she was born before the kind of legal protections that were implemented after scandals such as Willowbrook, a New York facility in which disabled children were brutalised, while the disability rights campaign, which took place in tandem with other social justice movements of the 60s and 70s, was some way off.

It wasn’t until 1985, when Joyce became her legal guardian and enrolled her at Creative Growth, that Scott turned to art. While she made nothing for her first two years at the centre, after taking part in a fibre art workshop she became obsessed by threads, spending every day until her death fastidiously wrapping and spinning fibres around objects, transforming them into her extraordinary creations.

I'm thrilled to be able to speak to Catherine Morris, who curated a great exhibition of Scott's work at the Brooklyn Museum. Morris holds the post of a feminist art specialist at the Brooklyn Museum, and has co-curated and curated numerous groundbreaking exhibitions – such as Lorraine O’Grady, We Wanted a Revolution: Black Radical Women, 1965-1985; Lucy R. Lippard and the Emergence of Conceptual Art… Worked on projects with Marilyn Minter, Zanele Muholi, Lorna Simpson, Kiki Smith, and Cecilia Vicuna, as well as the major head-lining-grabbing show, It’s Pablomatic: Picasso According to Hannah Gadsby at the Brooklyn Museum last year. 

ENJOY!

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LINKS:
https://www.brooklynmuseum.org/exhibitions/judith_scott/
https://creativegrowth.org/
https://art21.org/artist/judith-scott/
https://www.youtube.com/watch?v=4_n-8P_4IeE&t=66s&ab_channel=BetsyBayha
https://americanart.si.edu/artist/judith-scott-31169
https://www.theguardian.com/artanddesign/2024/apr/29/how-judith-scott-escaped-a-life-in-institutional-isolation-to-become-a-great-sculptor

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THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION:

https://www.famm.com/en/
https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037

Follow us:
Katy Hessel: @thegreatwomenartists / @katy.hessel
Sound editing by Nada Smiljanic
Music by Ben Wetherfield

Catherine Morris on Judith Scott

THIS WEEK on the GWA Podcast, @katy.hessel interviews is one of the world's most influential artists: Barbara Kruger.

Hailed for her distinctive poster-style language, Kruger merges text and image to bring attention to urgent political concerns. Bold, loud and readily available, her tabloid-esque works confront everyday issues. And, evocative of advertising, have the ability to bring meaning to often meaningless signage. 

Born in Newark, NJ, and educated at Syracuse then Parsons, where she was taught by the late great Diane Arbus, Kruger began as an art director for Condé Nast, where she shaped her visual language. As she has said, “I had the luxury of working with the best technology ... I became attached to sans serif type, especially Futura and Helvetica, which I chose because they could really cut through the grease.”

Fast forward to the 1970s and 80s – a highly political moment in America: especially for the control over one’s body – and Kruger is culminating text/images that speak to Laura Mulvey’s landmark 1975 essay on the male gaze, “Visual Pleasure and Narrative Cinema", and that protest anti abortion laws. Her work defined a new type of art that directly addressed power and control, championing the rights we should have over our bodies, life and world. 

Today, she is still at the forefront with her work – immersive and on the wall – that feels familiar due to its evocation of the machine we know as capitalism, that both drives us and that we drive. For those lucky enough to be in London, Kruger is very excitingly having her first institutional show in London in over 20 years, at Serpentine Galleries: Thinking of You. I Mean Me. I Mean You. Opening TODAY, until 17 March 2024.

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THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION:

https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037

ENJOY!!!

Follow us:
Katy Hessel: @thegreatwomenartists / @katy.hessel
Sound editing by Nada Smiljanic
Music by Ben Wetherfield

Barbara Kruger

I am so excited to say that my guest on the GWA Podcast is one of the most groundbreaking artists working today, Karon Davis.

Hailed for her life-size sculptures, that she covers in white plaster dust and bases on her own or friend’s bodies, Davis’s works often take the form of installations, that very powerfully explore vital narratives of current and historical political events, as well as speak to the history of dance and performance. While they speak on a universal level, Davis especially looks to issues of history, race and violence in the US, memorialising key injustices witnessed by innocent victims from the 20th century, and beyond. By executing her figures in a stark shade of white, she also speaks to Western beauty ideals and standards that have been entrenched in our society since classical times. 

Brought up by a family of performers, Davis was exposed to the arts at a young age, the excitement of entertainment but also the reality of what people with these careers go through. And it’s this insight that she gives us in her work – showing us both the pain and ecstasy to make something deemed beautiful, as her mother said, which was the title for her recent Salon 94 show: Beauty Must Suffer. 

Although a trained ballerina in her youth, Davis turned to filmmaking, studying at Spellman College, but her love of performance has stayed with her in her work. Entering an exhibition by Davis is like stepping into another world akin to watching a film or ballet playing out in front of you: there’s narrative, costume, drama, a beginning and an end, but also beauty and pain. 

In 2012 Davis, along with her late husband Noah, founded the Underground Museum in Los Angeles, a groundbreaking space that featured the work of Black artists. And, most recently, Davis’ work has been featured at the Hammer Museum, Jeffrey Deitch, Salon 94, and is in the collection of MOCA Los Angeles, LACMA, The Hammer Museum, and the Brooklyn Museum, among others. For those in New York, she has just installed a major sculpture on the High Line, of a ballerina taking her final bow, in conjunction with her exhibition that looked at the process of ballet, as well as the passion and resilience integral to life as a dancer, and artist.

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THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION:

https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037

ENJOY!!!

Follow us:
Katy Hessel: @thegreatwomenartists / @katy.hessel
Sound editing by Nada Smiljanic
Music by Ben Wetherfield

Karon Davis

I am so excited to say that my guest on the great women artists podcast is the renowned curator, scholar, and expert in 15th- and 16th-century Italian drawings, Furio Rinaldi to discuss TAMARA DE LEMPICKA!

Dubbed “the Baroness with the Brush'', Lempicka at the height of the 1920s found herself at the centre of Parisian life, and constructed some of the most radical, liberal and avant-garde images. From reworking traditional subjects to melding the meticulous techniques of Renaissance painting with cold and shiny art-deco aesthetics to evoke the fast-industrialising world.

Born in Poland at the end of the 19th century, Lempicka was raised in Russia, but escaped at the outbreak of the revolution. From there, she settled in Paris: the centre of the avant-garde, and thrived. She painted celebrated characters in the highest fashions of the day, and embraced sexual liberations.

Epitomising the modern woman, she was apparently known to break only for “baths and champagne”, this was, of course in her modernist apartment-slash-studio, designed by her equally successful sister, Adrienne Górska.

Currently holding the post of Curator of drawings and prints at the Fine Arts Museums of San Francisco, the largest collection of works on paper in Western United States – where he has just staged the most extraordinary Botticelli exhibition – Furio is acclaimed for his work on Leonardo da Vinci, Raphael and Michelangelo. 

A writer – he has published extensively in The Burlington Magazine, The Metropolitan Museum of Art Journal and more, but perhaps he is best known for his curatorial eye, having organised the fantastic Legion of Honor exhibition Color into Line: Pastel from the Renaissance to the Present, and next year, will curate a groundbreaking exhibition – and the first major show on the West Coast – on the Polish-born painter Tamara de Lempicka – who is very excitingly the artists we will be discussing today.

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THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION:

https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037

ENJOY!!!

Follow us:
Katy Hessel: @thegreatwomenartists / @katy.hessel
Sound editing by Nada Smiljanic
Music by Ben Wetherfield

Antonia Showering

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