Talk Art

• Louisa Buck (Cork Street Galleries special episode)

  #AD - Cork Street Galleries special episode!We meet art critic Louisa Buck to explore 100 years of Cork Street!Cork Street Galleries this year celebrates its centenary as a pioneering force in the art world, with 2025 marking 100 years as the iconic London art destination. A specially curated programme honours its rich legacy as the historic and enduring home of modern and contemporary art in London.In tribute to the centennial year, a first-of-its-kind initiative, a group exhibition entitled Fear Gives Wings to Courage was staged across all 15 galleries on Cork Street in the Summer, with each gallery presenting a response to a central theme conceived by Tarini Malik, curator of modern and contemporary Art at the Royal Academy of Arts, London.Fear Gives Wings to Courage has been commissioned in three parts as a response to the curatorial theme conceived by Malik. This is comprised of Fear Gives Wings to Courage Part I; a new edition of the Cork Street Galleries Banners Commission forming an outdoor element of the exhibition on view until the end of 2025; Fear Gives Wings to Courage Part II; a presentation of works within each participating gallery space, on view from 11 to 25 July 2025; and Fear Gives Wings to Courage Part III; CATALOGUE Issue 8:0, guest-edited by Malik, which coincided with Frieze London 2025.Taking its title from Jean Cocteau’s seminal 1938 work La peur donnant des ailes au courage(Fear Giving Wings to Courage), the exhibition celebrates 100 years of Cork Street and the transformative potential of artists' voices both within gallery spaces and outside of them. Gesturing to the street's long-established cultural history, the exhibition's theme recalls Cork Street’s pioneering role in transforming London into a hub for international art practices in the twentieth century, while also making it one of the key platforms in Europe for the expansion of Surrealist and Dadaist movements.13 years after Freddy Mayor established the first gallery on Cork Street in 1925, Peggy Guggenheim opened her 'Guggenheim Jeune' gallery in 1938. While hosting her first show with the famed polymath Jean Cocteau, the gallery stirred up significant controversy due to his painting La peur donnant des ailes au courage (Fear Giving Wings to Courage), which was confiscated by British customs authorities upon arrival in the United Kingdom. Similarly, this exhibition nods to the necessity of the gallery ecosystem in encouraging, upholding and presenting artists' practices that are assertions of agency in the face of societal and political pressures. The galleries on Cork Street were asked to respond to the theme with artists’ work that can be thought of as emblematic of Cocteau’s unabashed vigour and Guggenheim’s abiding belief in supporting artists. The galleries were also encouraged to profile artists who continue to draw from the legacies of Surrealism, not as a mere style or movement within the Western canon, but rather as a state of mind; a fluid, boundless approach of navigating notions of the self and society that transgress borders and temporalities. Follow @CorkStreetGalleries and Visit http://CorkStGalleries.com to discover more about this history of Cork Street as well as current exhibitions! Follow Louisa Buck on her Instagram @LouBuck01 Hosted on Acast. See acast.com/privacy for more information.

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• Edmund de Waal

  New @TalkArt podcast episode! We meet legendary artist, potter and author @EdmunddeWaal at his studio in South London!!We explore more than 40 years of making pots, and learn about the first major exhibition of acclaimed Danish ceramicist Axel Salto (1889 – 1961), considered one of the greatest masters of 20th-century ceramic art. This epic new show curated by #EdmunddeWaal (b.1964, Nottingham) is now open at the Hepworth Wakefield, including a major new installation by de Waal reflecting on Salto’s enduring influence.Salto was a radical polymathic figure who crossed boundaries from one discipline to another, producing an extraordinary body of ceramic work alongside paintings, wood- cuts, drawings, book illustration and textiles. Salto is internationally renowned for his highly individual and expressive stoneware inspired by organic forms, characterised by budding, sprouting and fluted surface textures that appear to ripple and burst with life.In his own visual art and literary works, Edmund de Waal uses objects as vehicles for human narrative, emotion, and history. His installations of handmade porcelain vessels, often contained in minimalist structures, investigate themes of diaspora, memory, and materiality.De Waal’s sculptural practice, writing, and art historical research are deeply intertwined, as he works across mediums and collaborates with museums, poets, performers, musicians, and other visual artists, both living and deceased. Much of de Waal’s work is concerned with collecting and collections—how objects are kept together, lost, stolen, or dispersed. His ceramics and writing expand upon conceptual and physical dialogues among minimalism, architecture, and sound, imbuing them with a sense of quiet calm. Manifest across de Waal’s practice is a distinct aesthetic philosophy that puts the hand, the sense of touch, and thus the human above all else. His work is about connecting people by reviving and telling stories that matter.Playing with Fire: Edmund de Waal and Axel Salto is now open and runs until 4th May 2026 at Hepworth Wakefield.Follow @EdmundDeWaal and @HepworthWakefield on Instagram. Hosted on Acast. See acast.com/privacy for more information.

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• Jeffrey Fraenkel on Diane Arbus (Live in London)

  We meet gallerist Jeffrey Fraenkel to discuss the work of Diane Arbus, recorded live in London at David Zwirner.— Sanctum Sanctorum: a sacred room or inner chamber; a place of inviolable privacyDiane Arbus: Sanctum Sanctorum, an exhibition of forty-five photographs made in private places across New York, New Jersey, California, and London between 1961 and 1971, is now open at David Zwirner, London until 20 December 2025, before travelling to Fraenkel Gallery, San Francisco in spring 2026. The exhibition is accompanied by a comprehensive monograph reproducing all works in the exhibition.Through her singular combination of intelligence, charisma, intuition, and courage, Diane Arbus was frequently invited into homes and other private realms seldom seen by strangers. Though made in intimate settings, her photographs evidence no sense of intrusion or trespass. Instead, they reveal an unspoken exchange between photographer and subject, a moment of recognition in which confidences emerge freely and without judgment.Arbus’s desire to know people embraced a vast spectrum of humanity. Her subjects in Sanctum Sanctorum include debutantes, nudists, celebrities, aspiring celebrities, socialites, transvestites, babies, widows, circus performers, lovers, female impersonators, and a blind couple in their bedroom.The exhibition brings together little-known works, such as Girl sitting in bed with her boyfriend, N.Y.C. 1966; Ozzie and Harriet Nelson on their bed, Los Angeles 1970; and Interior decorator at the nudist camp in his trailer, New Jersey 1963, alongside celebrated images like Mexican dwarf in his hotel room, N.Y.C. 1970 and A naked man being a woman, N.Y.C. 1968. While many of Arbus’s photographs have become part of the public’s collective consciousness since her landmark retrospective at The Museum of Modern Art, New York, in 1972, seen in this context, viewers may discover aspects of even familiar works that have previously gone unnoticed.Sanctum Sanctorum follows two recent major exhibitions of the artist’s work: Cataclysm: The 1972 Diane Arbus Retrospective Revisited at David Zwirner New York (2022) and Los Angeles (2025), and Diane Arbus: Constellation at LUMA, Arles (2023–2024) and the Park Avenue Armory, New York (2025).Follow @FraenkelGallery @DavidZwirnerWith special thanks to the Estate of Diane Arbus.#DianeArbus Hosted on Acast. See acast.com/privacy for more information.

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• Chantal Joffe

  Russell and Robert meet leading artist Chantal Joffe in her East London studio. We explore I Remember, Chantal Joffe’s fourteenth solo exhibition for Victoria Miro gallery. I Remember takes its title from Joe Brainard’s iconic memoir and is inspired by the late American writer’s poetic prompts that evoke the atmosphere and time of memories. Joffe’s paintings attempt to capture the fleeting yet enduring nature of memory and how it shapes our sense of self. This evocative new series of large-scale paintings explores themes of memory, nostalgia and personal history to offer a reflective and deeply personal journey into the artist’s childhood and family life. The exhibition is accompanied by a new text, entitled Time Transmission, by Olivia Laing.‘Joe Brainard’s book always makes me list for myself the things I remember and the atmosphere and time that they conjure. These paintings are a sort of memoir of my childhood and of my family, an attempt at a kind of time travel. When I am making them, it’s almost as if I am existing in that past.’ – Chantal JoffeChantal Joffe’s paintings are always attentive to narratives about connection, perception and representation, alerting us to the endless intricacies of bodily expression, the complexities of emotion and attachment, and how these change over time. This evocative new series explores themes of memory, nostalgia and personal history to offer a reflective and deeply personal journey into the artist’s childhood and family life.A new book published by MACK to coincide with this new show, Painting Writing Texting chronicles the friendship between Chantal Joffe and writer Olivia Laing, which began in 2016 when Joffe approached Laing to ask if they would sit for a portrait. From this unexpected encounter, the two embarked on an expansive and ranging collaboration, fuelled by conversations about art, books, and their shared attempts to understand the world. Combining ten essays by Laing with a sequence of paintings by Joffe, Painting Writing Texting explores the strange and risky process by which everyday life is converted into art.Born in 1969, Chantal Joffe lives and works in London. She holds an MA from the Royal College of Art and was awarded the Royal Academy Wollaston Prize in 2006. Chantal Joffe brings insight and integrity, as well as psychological and emotional depth, to the genre of figurative art. Defined by its clarity, honesty and empathetic warmth, her work is attuned to our awareness as both observers and observed beings, bold and expressive in style yet always questioning, nuanced and emotionally rich. A primary focus throughout Joffe’s career has been on the women and children in her life, captured at various stages of their own lives. Joffe has talked about her paintings in terms of transitions, those associated with growing and ageing, as well as her attempts to mark a life’s milestones. The complex relationship between mother and child over time has been a significant theme, while self-portraiture, which Joffe considers ‘a way of thinking about time passing’, remains one of the cornerstones of her art. Whether drawing inspiration from art history, popular culture or personal experiences, Joffe’s paintings are always attentive to narratives about connection, perception and representation. They alert us to the endless intricacies of bodily expression and the myriad ways in which we reveal ourselves and communicate emotion, consciously or otherwise, even in the most private of moments.Chantal Joffe: I Remember runs until 17th January 2026 at Victoria Miro, Wharf Road. Follow @VictoriaMiroGallery Hosted on Acast. See acast.com/privacy for more information.

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• Alice Neel Estate - Ginny and Hartley Neel

  We meet Ginny and Hartley Neel, Executive Directors of the Estate of Alice Neel, and the artist’s daughter-in-law and son. We explore her current exhibition in Belgium at Xavier Hufkens.Alice Neel is widely recognised as one of the great American painters of the twentieth century. Her success, however, has largely been posthumous. In the past decade, interest in her work has grown exponentially, with a series of landmark exhibitions and art historical studies firmly cementing her position on the international stage.Neel’s oeuvre is fascinating on two counts: not only was she an incredibly gifted painter, but also an astute and idiosyncratic chronicler of some of the most tumultuous decades in American history. While she also painted landscapes and still lifes, Neel is best known as a painter of people. Her sitters included artists, writers, intellectuals and family members, as well as people living on the margins of society, particularly immigrants. Deeply committed to equality and social justice, Neel was interested in the human struggle for survival, and in mankind’s capacity for resilience in the face of hardship and deprivation. With her distinctive brushwork and remarkable feel for colour, Neel succeeded in capturing the inner psychological depths of her sitters. Her commitment to truth and dedication to figuration—unfashionable during her lifetime—ensured that her work remained permanently out of kilter with avant-garde movements such as abstract expressionism, pop art and minimalism. Yet her uncompromising approach gave rise to a unique and highly individualistic body of work that continues to exert an influence on contemporary artistic production.Alice Neel Still Lifes and Street Scenes runs until 22 November 2025 at Xavier Hufkens, Van Eyck, Brussels, Belgium. Follow @XavierHufkensThe first retrospective dedicated to the artist in Italy, ’Alice Neel: I Am the Century’ is now open @PinacotecaAgnelli at in Turin, Italy – on view through 6 April 2026. Special thanks to the Estate of Alice Neel and Xavier Hufkens, Brussels for making this conversation possible. #aliceneel #xavierhufkens #pinacotecaagnelli Hosted on Acast. See acast.com/privacy for more information.

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