This series, Experiments in Art Writing, features a set of highly innovative UK-based art writers, asking them to describe the encounters, materials, voices and texts that have shaped the very form of their writing.

Episode image: Bartholomew Dandridge, A Young Girl with an Enslaved Servant and a Dog, c. 1725, oil on canvas, 121.9 x 121.9 cm. Yale Center for British Art, Paul Mellon Collection (B1981.25.205). (Public domain)

This series, Experiments in Art Writing, features a set of highly innovative UK-based art writers, asking them to describe the encounters, materials, voices and texts that have shaped the very form of their writing.

This series, Experiments in Art Writing, features a set of highly innovative UK-based art writers, asking them to describe the encounters, materials, voices and texts that have shaped the very form of their writing.

This programme contains a description of suicide taken from the novel La Fin De Cherí, by Sidonie Gabriel Collette. If you’d prefer to skip over that, it’s between 14:43 - 16:08. If you need support, you can the Samaritans - any time of day or night - on 116 123. Or visit www.samaritans.org.

Episode image: Mattia Preti, Belshazzar’s Feast, 1653-1659, oil on canvas, 202 x 297 cm. Collection National Museum Capodimonte (Q 254). Digital image courtesy of Web Gallery of Art (Public Domain)

This series, Experiments In Art Writing, features a set of highly innovative UK-based art writers, asking them to describe the encounters, materials, voices and texts that have shaped the very form of their writing.


Episode image: Anna Bunting Branch, W.I.T.C.H. ("Wild Imaginations Transform Chauvinist Hegemony"), oil and acrylic paint on folded aluminium sheet, 2016. Courtesy of Anna Bunting Branch.

Ryan Gander’s inventive, shapeshifting and associative works materialise in many forms ranging from sculpture and writing to painting and performance. His engagement with histories is not without mischief, in his 2006 work A Future Lorum Ipsom, Gander invented a palindromic word, ‘Mitim’, designed to be inserted without comment into newspapers, magazines, crosswords or everyday speech, meaning ‘a mythical word newly introduced into history as if it had always been there’. In this episode of British Art Talks, an array of artists is enlisted in a quixotic project: a countdown from fifty in bingo calls. The funny, rhyming calls evoke a history of a game of pure chance, based on random numbers, dating from the early eighteenth century in Britain. They include visual puns and enigmatic idiom. They speak of clandestine activity, village halls and commercial leisure. First, a story, part of a beat poem, narrated by Ryan as author, to his daughter, Penny, in a disarming and semi-autobiographical form: a history of the artist navigating, inventing, transforming, ludic, in time.

Lucy Skaer has exhibited extensively and has had recent solo exhibitions at the Museo Tamayo, Mexico, SMAK, Gent and Kunstwerke, Berlin, and a current solo show at Bloomberg Mithraeum, London.  She was nominated for the Turner Prize in 2009 and was awarded the Paul Hamlyn Foundation Award in 2016. She works in collaboration with as Nashashibi / Skaer, and they were included in the last Documenta together. Born in 1975 in Cambridge, she lives and works in Glasgow.

This series foregrounds three contemporary artists, touching on the highly distinctive and unexpected ways in which they both construe and work with histories of their field.

The garden has long been an important subject matter of the British history of art, but what of the medicinal garden, its visual culture and aesthetics, its significance as a sensory and experimental site, and for artists? This episode brings together a set of scholars whose diverse researches shed new light on the physic, botanical and medicinal garden from the medieval to the eighteenth century. A wide-ranging discussion will consider the relationship between the garden and health, engagements between science and design in the garden, and the visual / literary culture of the medicinal garden. 

When John, 13th Duke of Bedford, opened up Woburn Abbey to the paying public in 1955, he took care to maintain the sense that this was his family’s home, even though they occupied only a section of the house, away from the tourist route. As he recorded, his wife, Lydia, ‘succeeded most cleverly in arranging the main state-rooms for show while still making them look as if they were lived in’. To see great treasures such as the Armada portrait of Elizabeth I, the Sèvres dinner service gifted by Louis XV, or the family’s famed Canalettos ‘in their natural surroundings’ was, the Duke averred, much preferable to seeing them ‘displayed along with rows of others in some impersonal museum'.

This paper will sketch out the emergence of this now very familiar trope of the country house as ‘family home’ (whether actual, past or imagined) as an ideal setting for works of art, preferable to ‘some impersonal museum’. It will look at its history from the National Trust country house scheme of the 1930s, through the stately home business of the 1950s, to more recent presentations, as a cornerstone of the case for continued private ownership developed into a fully fledged marketing tool. It will consider the work that this concept has done, both for owners and visitors, and its role in country house presentation today.

Lisa Tickner, a leading historian of British art, has just published a new book on the dynamic art world that emerged in 1960s London. In this podcast, she talks with Mark Hallett about the remarkable array of artists, curators, galleries, art-schools, films, publications and documentaries focused on in the course of her research, and about the highly original way she has written her book

This talk focuses on a key instance of the social realism that played an important role in late Victorian art and culture. Hubert von Herkomer’s Hard Times (1885), has to do with conditions of migrant and insecure labour at the time. Artistically, and in its address to vital social issues, it is an intriguing and complex creation. It continues to strike a chord nowadays, partly because its conception has a certain bearing on present day concerns. Our concerns, though clearly very different from those governing work such as Herkomer’s, have not entirely left behind, or succeeded in radically modernizing, the Victorian conditions this work visualised, and which key figures at the time, most notably Karl Marx, subjected to such powerful critique. At the same time, the ambitions and representational configurations of the late nineteenth-century realist painting of modern life continue to inform much of the art work that examines the fabric of the modern world’s social environments.