『The Great Women Artists』のカバーアート

The Great Women Artists

The Great Women Artists

著者： Katy Hessel
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 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.All rights reserved アート
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  • Lois Dodd

    Lois Dodd
    2025/05/27
    I am so excited to say that my guest on the GWA Podcast is the esteemed American painter, Lois Dodd. At 98-years-old, Dodd is famed for her paintings of her immediate surroundings, from landscapes to house roofs, windows and stairs. She paints the Night, day; outside, inside; doors that are painted, chipped; new, worn; and loved. While there is a seemingly absence of people, Dodd’s paintings capture whole worlds and narratives – whether it be hose fires, or laundry hanging from a washing line. It’s as though the colour, weather, light, frames, stairs, or cracks retain years worth of stories and memories, or are even characters in themselves. Steeped in American art and cultural history, referencing the likes of Hopper or Hitchcock, Dodd’s works emphasise a voyeuristic, but also familiar nature. Born in 1927, Dodd was born and raised in New Jersey, mostly by her three older sisters after her parents’ untimely death when she was young. It was then to Cooper Union in the 1940s, where she was amongst the burgeoning New York art scene, opening the artist-run space, the Tanager Gallery in 1952, at a similar time to iconic exhibitions such as the Ninth Street Show. Venturing to Maine, living by her artist friends Alex Katz and Jean Cohen, she took to painting views of the landscape, and by the end of the 1960s, this was now framed through a window: a perspective and device she has constantly reworked and reinvented, whether it be pressed up against her window on the Bowery, looking out onto her New York view, or of the cracked windows set in the lush, verdant countryside. Dodd allows her viewer to see something we thought we knew so well. She is an observer of nature – her works are about seeing the things that pass others by. As the critic Roberta Smith wrote in 2013: “Ms. Dodd loves the observed world. [...] She always searches out the underlying geometry but also the underlying life, and the sheer strangeness of it all.” I would also add that she is acute at highlighting the things that others iss - take her window portraits of New York City, a favorite being one fro November 2016, of her view that although is taken p by windows, places emphasis on a golden tree or blue sky, as if to latch on to the nature that grows even in the city, and the hope and beauty that exists even in the most unexpected places… Today we are recording in Dodd’s home/studio in New Jersey… ahead of her major exhibition at Kunstmuseum Den Haag that opens this August in The Netherlands… Being here, I feel set in a Lois Dodd painting, brought to life by the motifs that surround me – and I can’t wait to find out more. https://www.kunstmuseum.nl/en/exhibitions/lois-dodd https://www.alexandregallery.com/artists-work/lois-dodd#tab:slideshow;tab-1:thumbnails -- 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 Mikaela Carmichael Technical support: Viva Ruggi Music by Ben Wetherfield
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    37 分
  • Lorna Simpson

    Lorna Simpson
    2025/05/18
    I am so excited to say that my guest on the GWA Podcast is the esteemed American artist, Lorna Simpson. Working across photography to painting, video to collage, Simpson is a multimedia artist who – since the 1980s – has gained widespread acclaim for her pioneering approach to conceptual photography. Whether it’s fusing text with image, obscuring her subject’s identity, using techniques such as repetition, collage or manipulation – Simpson has conjured a plethora of ways to reinvent the image, and, by doing so, raises questions about gender, race, memory, and history. Her work, mostly centred on the female body, is full of seemingly open-ended narratives – as she has said: “I think the idea of identity or persona is interesting to me in that it is malleable and fluid. And that has always been part of the work in terms of [thinking about] who gets to determine who we are. Do we get to determine that, and what are the parameters of that, given the society that we live in?” Engaging with found images and objects, whether that be cut-outs from Ebony or Jet Magazines, or photographs she finds on eBay, which she melds with inks or collages of jewels, Simpson has continuously reconfigured what painting and photography means. Born in 1960, and raised in Queens and Brooklyn in a childhood that put the arts first, Simpson received her BFA from the School of Visual Arts, New York, and following that, an MFA from the University of California San Diego, where she began to focus on the portraits of Black women she found in magazines, adding suggestive phrases from elsewhere. By 1990, she had a major exhibition at MoMA, and throughout the decades has continued to push boundaries with her seemingly limitless approach to materials. But in 2015, she turned to painting, showing her first nine-feet-tall canvases at the Venice Biennale, and this month will present a major exhibition – that considers the entirety of her painting practice – at the Metropolitan Museum of Art here in New York – where we are recording today. Titled “Source Notes”, it will feature Simpson’s monumental and spellbinding paintings, which, steeped in monochromatic blues, silvers, blacks and greys, appear in settings that evoke the cosmological or natural world. An extension of her photographic work, Simpson’s paintings see the manipulated figure and body pressed into landscapes akin to waterfalls or meteorites, and I can’t wait to find out more… https://lsimpsonstudio.com/ Lorna Simpson: Source Notes – https://www.metmuseum.org/exhibitions/lorna-simpson-source-notes?utm_source=google&utm_medium=cpc&utm_campaign=&utm_term=lorna%20simpson%20art&utm_content=39536&mkwid=s&pcrid=743882408399&pmt=b&pkw=lorna%20simpson%20art&pdv=c&slid=&product=&gad_source=1&gad_campaignid=22399716678&gbraid=0AAAAADmlGN7UtMbglt7UAR4dicGAOa9Vx&gclid=CjwKCAjw24vBBhABEiwANFG7ywIA72_JjPaxVUdfQSWW_h8NFYNWzddlSHz6KV38M9zgiG4rs_9UNxoCVFkQAvD_BwE https://www.hauserwirth.com/artists/2860-lorna-simpson/ -- 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 Mikaela Carmichael Music by Ben Wetherfield
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    39 分
  • Michaela Yearwood-Dan

    Michaela Yearwood-Dan
    2025/05/07
    I am so excited to say that my guest on the GWA Podcast is one of the most exciting painters working in the world today, Michaela Yearwood-Dan. Hailed for her works that bloom, dance, and come alive when you are witness to them, with an abundance of textures, weathers, colours, mark-makings, and more, Yearwood-Dan intertwines the botanical with abstraction, and brings painting back to its natural-like essence. Never restricting herself to just one medium, Yearwood-Dan works across ceramics, sound, installation, performance, and all-encompassing paintings that can range from small to the colossal, with some measuring up to 8-metres-wide. See them in the flesh and it’s like seeing an entire ecosystem unfold, embedded with hidden languages, whether it be the symbolism she uses or the small elements of text, poetry and song lyrics, that add another dimension to her rich, embellished worlds. Raised in London as the youngest of three girls, by parents and grandparents that taught her about craft, weaving, seamstressing, Yearwood-Dan completed her studies at Brighton from 2013–2016, where she graduated top of her class, before going onto experiment with an artistic language that has constantly been growing and reinventing, and pushing paint to its limits. While early work – at the time I met her in around 2019, when she invited me for a studio visit when we were both in our mid 20s – explored more interior images intertwined with house plants, it has been incredible to watch her work mould into spaces of abundance, possibility and exhilaration. And indeed, her work has been described by the renowned writer and curator Ekow Eshun as having “a sense of boundless possibility”, which feels apt for a time like today, when it feels more than ever for art to be our guide to expanding our imagination, and also joy in times of despair. This is exactly the topic of Yearwood-Dan’s new exhibition, opening at Hauser & Wirth in London on 13 May, titled No Time for Despair, referencing a line from Toni Morrison’s 2004 article for The Nation, which states, “in times of dread, artists must never choose to remain silent.” – and I can’t wait to find out more… Exhibition page: https://www.hauserwirth.com/hauser-wirth-exhibitions/michaela-yearwood-dan-no-time-for-despair/ -- 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
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    46 分

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