the Roberts Institute of Art the Roberts Institute of Art
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A place to explore, reimagine and exchange ideas about culture through conversations.
We invite artists, cultural practitioners and other thinkers to discuss themes connected to the Roberts Institute of Art (previously DRAF) programme and works in the David and Indrė Roberts Collection. Through dialogue, research and personal stories this podcast series dives into those elements that shape contemporary culture and the ways we see the world.
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Close Looking: Osman Yousefzada on Prem Sahib
Osman Yousefzada’s poem, 'Untitled (for Prem)', is written in response to Prem Sahib’s 'User_01' (2016), a panel of black aluminium covered with drops of resin that look like sweat and moisture, smudged in one part as if by a hand. The work’s eroticism, inspired by the sweaty walls of clubs, is framed by Yousefzada’s evocation of memory, longing and sensuality.
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Close Looking: Marina Warner on Paula Rego
Marina Warner’s 'Pentimento' is written in response to Paula Rego’s drawing in pencil and conte, 'St Mary of Egypt' (2011) and tells the story of the little-known saint from fragments of reports of those who knew and remembered her. Knowing Rego’s love of storytelling and character studies, Warner has written a fictional account of a professor who has discovered Rego’s drawing and has pieced together memories of the saint gathered from a fictional fourth-century palimpsest she is researching from the city of Fustat (old Cairo).
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Close Looking: Heather Phillipson on Emma Talbot
Heather Phillipson’s 'The Creeps' is written in response to Emma Talbot’s 'How the Web was Woven' (2009), an acrylic on canvas work with a variety of vignettes, spider webs, texts and mysterious figures. Reflecting the haunting, unsettling atmosphere in Talbot’s painting, Phillipson considers how an artwork can never be fully understood or described, but is something we can continually think with and learn from.
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Close Looking: Julie Ezelle Patton on Eva Hesse
Julie Ezelle Patton’s 'Three Phases of Eva, 1965' is written in response to Eva Hesse’s 'Three' (1965), a triptych of gouache and oil on paper collage. Patton takes Hesse’s triptych and title to structure the poem in three, imaginatively exploring Hesse's name, work and life, from Patton's first memory of hearing the artist’s name to once assisting Hesse’s partner, artist Tom Doyle. For Patton, the encounter with this work becomes a point of departure to play with language just as Hesse experimented with materials, and to reflect on acts of violence, from Hesse’s experience of fleeing from Nazi Germany in her childhood, to current events today.
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Close Looking: Imani Mason Jordan on Ellen Gallagher
Imani Mason Jordan’s '1:1' is written in response to Ellen Gallagher’s 'Untitled' (2005). Gallagher’s intimate work shows two silhouetted figures etched onto a gold leaf background. The figures, posed as if in conversation, recall nineteenth-century portraits of authors found in narratives of slave emancipation. Jordan’s couplets of words and sounds, pulsing and intimate, fragmentary and accumulative, reflects Gallagher’s own process of gathering, erasing, cutting and collaging materials.
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Close Looking: Renee Gladman on Ayan Farah
Renee Gladman’s 'All These Not-Places for Wandering' is written in response to Ayan Farah’s 'Stardust' (2011), a work dyed and bleached by UV light and painted with acrylic paint. Gladman approaches the work and the project of writing about it questioningly. Taking the encounter with the work as one of ‘wandering’ through it, Gladman follows the different lines of thought that Farah's atmospheric work prompts, reflecting on the relationship between thinking, seeing and sensing.