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We meet Sean Ono Lennon to explore his music and life with art, plus we discuss the forthcoming box set Power to the People, that Sean has produced, of his parents’ Yoko Ono and John Lennon’s 1972 fundraising live New York concert. We consider activism in art, especially the legacy of John and Yoko’s timeless work together (as also documented in the recent One to One documentary).
Recorded live at Madison Square Garden, New York City on 30 August 1972, the Power to The People box set includes 31 Live Tracks from John & Yoko's two historic sets at the One To One Concert backed by Plastic Ono Band, Elephant’s Memory and Special Guests. They were John Lennon’s only full-length concerts after leaving The Beatles and the last two full-length concerts that John & Yoko performed together. Released from 10th October 2025. Learn more: https://www.johnlennon.com/news/power-to-the-people-deluxe-box-4lp-2lp-2cd-1cd-preorder-now/
Sean Ono Lennon is a world renowned musician, songwriter, and producer. “He has always chosen his own musical path, following it deftly as he splits the difference between pop and experimental pursuits. He came of age in the kaleidoscopic '90s, working with Cibo Matto and issuing his first solo album, 1998's Into the Sun, on the Beastie Boys' Grand Royal label, while beginning a long stint playing in his mother Yoko Ono's band. In the following decade he formed the psychedelic duo the Ghost of a Saber Tooth Tiger and the improvisational prog group Mystical Weapons. As his musical interests expanded further, he teamed with Les Claypool to form the hard-to-categorize project the Claypool Lennon Delirium, branched out into film scoring, explored more mainstream territory as he worked with artists like Lana Del Ray, Lady Gaga and Lily Allen, and delved into jazz as well. His first foray into that style was 2024's Asterisms, a fully instrumental album of electronics-fused jazz and psychedelic soundscape music.
The son of John Lennon and Yoko Ono, Lennon was born in New York City in 1975. During his childhood, he was educated in Swiss boarding schools, but occasionally appeared on his mother's albums and sang on the 1984 Ono tribute Every Man Has a Woman. In his early teens, he was occasionally seen decked out in a plastic Thriller jacket and hanging out with Michael Jackson, but his first official step into the spotlight was in the form of filmed interviews for the 1988 documentary Imagine: John Lennon. Three years later, he organized -- with Ono and Lenny Kravitz -- a star-studded re-recording of his father's "Give Peace a Chance" as a protest to the Gulf War. That year, he also appeared on Kravitz's album Mama Said.” Biography by Stephen Thomas Erlewine, Rovi.
In 2025, Sean is working on a new Claypool Lennon Delirium album (their 3rd) and is directing a documentary film on the crazy genius fashion designers 3as4, who have designed outfits for Bjork and Yoko among many others.
Follow: @Sean_Ono_Lennon, @YokoOno and @JohnLennon
Visit:
johnlennon.com
imaginepeace.com
citizenofnutopia.com
escapetonutopia.com
http://theclaypoollennondelirium.com
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This episode is a special partnership with BOSS. Special episode recorded in Milan, September 2025. #AD
Russell meets Marco Falcioni, Creative Director of HUGO BOSS. We discuss the Art Basel Awards which BOSS have been partnering with, Marcos' beginnings discovering fashion in the clubs of Rome, how art is intrinsic to his designing, and the importance of his weekly practice of visiting art exhibitions including Venice Biennale. Collaborations and partnerships are very important to him and the integrity and respect he has for his close team at BOSS. We discuss Lucio Fontana, Spatialism, Jannis Kounellis, Arte Povera, and how their art, and the art movements they were part of, opened up his mind to the power of art.
BOSS is known for timeless and sophisticated style, and commitment to culture, sport and sustainability, underpinned by technical innovations developed over its century-long history. Russell explores his inspirations and design approach, including runway collections, collaborations with David Beckham, Aston Martin, and reimagining classics with a modern twist.
Follow @FalcioniMarco and @BOSS
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For six decades American artist Joan Snyder has reimagined the narrative potential of abstraction through her paintings, drawings and prints. She first garnered widespread recognition in the early 1970s with her Stroke paintings that dissect the most fundamental of painterly gestures: the brushstroke. Fuelling abstraction with autobiography, she consciously worked against the male-dominated conventions of Minimalism, Abstract Expressionism and Colour Field painting, which were prevalent in the New York art scene into which she emerged. ‘I wanted more in painting, not less,’ she says. ‘I wanted to tell a story, have a beginning, a middle, an end... to do something else, something much more intense, personal and complex.’ Building a vocabulary of recurring personal motifs – from roses and breasts, to ponds and mud, totems, screaming faces, grapes, scrawled words, cherry trees and moons, pumpkins and sunflowers – she pushes the formal possibilities of paint while developing a complex materiality through an additive process of collaged materials. Snyder’s rigorous interrogation of abstraction is underpinned by her feminist outlook, as she centres ‘the essence of feelings of a female body’ to carve out new terrain in contemporary American painting.
Love from an Abstract Artist is an exhibition spanning over six decades of American artist Joan Snyder’s work on paper. Featuring nearly 50 new and historical works, dating from the mid-1960s to the present day, it bears witness to the important position drawing has always held in Snyder’s practice. Often diaristic and autobiographical, these varied works encompass Snyder’s grids, symbols, landscapes and strokes, and incorporate collaged materials including fabric, rope, berries, herbs and hand-pressed paper pulp, among others. Snyder has continually expanded the possibilities of drawing. Her works on paper are, as the American critic and art historian Faye Hirsch writes, ‘independent and self-sufficient objects’. Love from an Abstract Artist follows the artist’s first solo exhibition, Body & Soul, at Thaddaeus Ropac in London in 2024.
Snyder is recognised for developing a new, distinctly embodied language of abstract painting at a time when legacies of Abstract Expressionism loomed large and Minimalism espoused new conditions of sterility and mechanical facture in American art. In this male-dominated climate, she dissected the ‘anatomy’ of painting to its constituent parts and, in the mid-1970s, began adding personal motifs to her work such as bodies and breasts, vulvas and hearts, totems and fields of flowers. ‘It seemed to me that in order to go forward, I had to push back hard,’ she reflects. ‘To again embrace ideas that were at the very foundation of all my thinking about painting – about structure, about application, about meaning, about materials.’ The earliest works in the exhibition including Stripes/Mounds and Green Strokes (both 1968) reveal how drawing offered the artist a framework, outside of painting, through which to deconstruct its most fundamental elements. ‘My drawings are the skeletons upon which I plan to add muscle and bones and flesh,’ she has said. Presenting a series of reduced marks – blobs, lines, stripes and strokes – these works contain the pictorial discoveries that would catalyse one of the artist’s major bodies of work, the Stroke paintings.
Joan Snyder: Love from an Abstract Artist is now open at Thaddaeus Ropac, until 4 October 2025, 37 Dover Street London W1S 4NJ.
Follow @Joan_Snyder_Art and @ThaddeusRopac on Instagram
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Talk Art Live in Berlin. Season 26 of Talk Art begins!!!!
This episode is a special Paid Partnership collaboration with Berlin Art Week, who flew Russell & Robert to Berlin.
Recorded live, in front of an audience, outside the Neue Nationalgalerie in September 2025. Special guests Peaches @peachesnisker (musician, producer, director, performance artist) and Klaus Biesenbach @klausbiesenbach (Director, Neue Nationalgalerie) join the conversation about art, music, and the Berlin art scene.
An iconic feminist musician, producer, director, and performance artist, Peaches has spent nearly two decades pushing boundaries and wielding immeasurable influence over mainstream pop culture from outside of its confines, carving a bold, sexually progressive path in her own image that's opened the door for countless others to follow. She’s collaborated with everyone from Iggy Pop and Daft Punk to Kim Gordon and Major Lazer, had her music featured cultural watermarks like Lost In Translation, The Handmaid's Tale, and Broad City among others, and seen her work studied at universities around the world.
Dubbed a “genuine heroine” by the New York Times, Peaches has released five critically acclaimed studio albums blending electronic music, hip-hop, and punk rock while tackling gender politics, sexual identity, ageism, and the patriarchy. Uncut has raved that her work brought together "high art, low humour and deluxe filth [in] a hugely seductive combination,” while Rolling Stone called her “surreally funny [and] nasty.”
An equally prolific visual artist, Peaches has directed over twenty of her own videos, designed one of the most raw and creative stage shows in popular music, and has appeared at modern art’s most prestigious gatherings, from Art Basel Miami to the Venice Biennale. On top of it all, she mounted a one-woman production of 'Jesus Christ Superstar’—redubbed ‘Peaches Christ Superstar’—which earned international raves, composed and performed the electro-rock opera 'Peaches Does Herself,' which premiered at the Toronto International Film Festival, and sang the title role in a production of Monteverdi's epic 17th-century opera 'L’Orfeo' in Berlin. Visit: https://www.teachesofpeaches.com/
Klaus Biesenbach began his career in Berlin 30 years ago aged 25, when he was one of a group that set up the KW Institute for Contemporary Art in a former margarine factory. In 2004, he became a curator at the Museum of Modern Art in New York, where he rose to the position of chief curator and founded a new department for media and performance art. In 2010, he became director of MoMA PS1, the museum's outpost in Queen's. At MOCA in Los Angeles, he introduced free admission, expanded the collection and navigated the museum through the pandemic.
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WeTransfer x TalkArt special episode recorded live at Whitechapel Gallery.
Recorded in front of a sold out live audience at @WhitechapelGallery we speak with @DominicJohnson and Jamal Butt to explore the current HAMAD BUTT exhibition: his life, art and legacy.
❤️ Thank you to @WePresent for organising this exciting event!
Apprehensions is the first major survey of #HamadButt (b. 1962, Lahore, Pakistan; d. 1994, London, UK). One of the most innovative artists of his generation, Hamad Butt was a pioneer of intermedia art, bringing art into conversation with science, whilst also referencing his Queer and diasporic experiences. He offered a nuanced artistic response to the AIDS crisis in the UK, taking a conceptual rather than activist approach.
Butt’s conceptually and technically ambitious works seamlessly interweave popular culture, science, alchemy, science fiction, and social and cultural concerns, as forms that are simultaneously poetic and provocative. They imagine sex and desire in a time of ‘plague’ as seductive yet frightening, intimate yet isolating, compelling yet dangerous – literally, in some cases, threatening to kill or injure.
Born in Lahore, Pakistan, and raised in East London, Butt was British South Asian, Muslim by upbringing, and Queer. A contemporary of the Young British Artists, and their peer at Goldsmiths’ College, London, Butt was described by art critics as epitomising the new ‘hazardism’ in art of the 1990s, as his works often imply physical risk or endangerment.
Follow: @WhitechapelGallery and @WePresent and check out WePresent today to see a series of never-before-seen artworks by Hamad, generously shared by Jamal.
This episode is brought to you by our friends at WePresent, the Academy Award winning
arts platform of WeTransfer. Collaborating with emerging young talent to renowned artists
such as Marina Abramović, Riz Ahmed and Talk Art's own Russell Tovey, WePresent
showcases the best in art, photography, film, music, literature and more, championing
diversity in everything it does.
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Talk Art live! As part of the Nevill Holt Festival 2025, Talk Art hosted a live podcast recording with special guest Harland Miller. From the Nevill Holt Theatre, the world-renowned artist Miller joined Russell Tovey and Robert Diament in conversation to discuss his paintings and lifetime of art making.
The Nevill Holt Festival is an annual celebration of arts and culture held in the Leicestershire countryside. Recorded on 12th June 2025, in front of a sold out audience.
Artist and writer Harland Miller’s (born 1964) polychromatic and graphically vernacular paintings have garnered a devoted following. Infused with irreverent northern English humour and refined by his lifelong love of language, Miller’s work synthesises references from both high and low culture, spanning literature, music, self-help manuals and medieval iconography.
Attesting to his deep-rooted engagement with the narrative, aural and typographical possibilities of language, Miller expressed, ‘People read before they can stop themselves, it’s automatic. Words offer a way into what you’re looking at, but no matter how integrated the text is, no matter how much you might think it’s synthesised into the painting, there is this imbalance in terms of how much the words are doing as words.’
Follow: @NevillHoltFestival
Visit: https://nevillholtfestival.com/
Learn more about Harland’s paintings: https://www.whitecube.com/artists/harland-miller
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📻 Listen to Talk Art, stream now: @Spotify @ApplePodcasts
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We meet painter Charlotte Keates within her new installation ‘Inner Landscapes’ on the Terrace at Hermès New Bond Street. We discover the inspiration behind her epic new commission and explore her lifelong passion for drawing and painting.
Keates was born in 1990 in Somerset, United Kingdom, and currently lives and works in Guernsey. She received her Bachelor of Fine Arts degree from Falmouth University. Her paintings gently weave together impressions of space and structure with subtle narratives, often emerging through the interplay of distinctive colors and carefully placed objects. #AD
These scenes do not depict real places but rather reflect traces of memory and quiet moments of perception. The spaces she constructs are imagined, yet the emotions they carry feel genuine and immediate. Without relying on overt storytelling, her works convey a calm presence and a quiet tension. As art historian Marco Livingstone observed, “the highlighted area acquires a hypnotic presence, as if spotlit into existence from within an atmosphere of ambiguous limitless space.”
Follow @CharlotteKeates on Instagram.
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We meet iconic painter Sean Scully on the eve of his 80th birthday at his studio in North London.
Over the course of his 50-year career, Sean Scully has created an influential body of work that has marked the development of contemporary abstraction. Fusing the traditions of European painting with the distinct character of American abstraction, his work combines painterly drama with great visual delicacy. Often structured around stripes or layered blocks of colour arranged on horizontal and vertical axes, the layers in his paintings attain a fine balance between calm reflection and an intrinsic vitality.
A forceful, physical artist, Scully creates intentionally compelling spaces, and his art is defined by acute concentration and care, involving constant negotiation between the monumental and the intimate. While giving primary importance to the physicality of the materials he employs, his art is commanded by the idea of humanity’s betterment, and at the heart of each rigorously composed work lies a near-infinite number of expressive, emotional fluctuations.
During a trip to Morocco in 1969, Scully was strongly influenced by the rich colours of the region, which he translated into the broad horizontal stripes and deep earth tones that characterise his mature style. Following fellowships in 1972 and 1975 at Harvard University, he permanently relocated to New York. In the early 1980s, he made the first of several influential trips to Mexico, where he used watercolour for the first time in works inspired by the patterns of light and shadows he saw on the stacked stones of ancient walls. The experience had a decisive effect on him and prompted his decision to move from Minimalism to a more emotional and humanistic form of abstraction.
Follow @SeanScullyStudio
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We meet John Cameron Mitchell, groundbreaking American actor, writer and director best known for creating, directing and starring in the Hedwig and the Angry Inch (2001), a film adaptation of the off-Broadway stage production he co-wrote with composer Stephen Trask. We discuss Claude Cahun, David Bowie and the power of art, ahead of his major live show this Tuesday 8th July at the Adelphi Theatre in London.
In 1998, he co-created Hedwig and the Angry Inch, a genre-defying rock musical about a genderqueer East German singer navigating identity, love, and fame. The show became an off-Broadway sensation, earning a cult following. In 2001, Mitchell directed and reprised his role as Hedwig in the film adaptation, which won the Best Director Award and Audience Award at the Sundance Film Festival. The film’s success cemented his status as a visionary filmmaker.
Following Hedwig, Mitchell directed Shortbus (2006), a provocative indie film exploring sexuality and relationships through an ensemble cast. In 2010, he directed Rabbit Hole, starring Nicole Kidman, a deeply emotional drama about grief, which earned Kidman an Academy Award nomination.
Marking 25 years since the London premiere of Hedwig and the Angry Inch, theatrical icon John Cameron Mitchell presents a spectacular one-night-only celebration of his career and of the cult classic that rocked the foundations of music theatre forever. On Tuesday 8th July, the two time Tony Award-winning star of stage and screen will take to the West End stage for the very first time, joined by a host of incredible special guests including Boy George, Divina de Campo, Michael Cerveris, Nakhane, Martin Tomlinson and Mason Alexander Park.
Expect the unexpected – from the glittering glam that rocked him as a boy living in early 70’s Scotland, to gut-punching ballads spanning Off-Broadway, Broadway, Hollywood and beyond — as Mitchell opens his heart and history to the city that first embraced Hedwig a quarter-century ago.
Dress to Express as we celebrate the transformative power of music, love and radical self-expression. London, it’s been a long time coming, are we ready to ‘Pull that wig down off the shelf’?!
Visit: https://lwtheatres.co.uk/whats-on/john-cameron-mitchell/
Follow: @JohnCameronMitchell
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New @TalkArt podcast episode. We meet Ann Carrington @anncarringtonart at her studio in Margate!
Ann Carrington sculpts fantastical metal sculptures that evoke the age of aristocracy. She gathers found and discarded objects to shape her artworks, which often take the form of bouquets, vases, and oversized busts.
The use of discarded, found and multiples of objects is a fundamental element of Ann’s sculptures and wider practice. All objects are saturated with cultural meaning which, as an artist, she seeks to explore, unravel and investigate.
Mundane objects such as knives and forks, barbed wire, pins and paintbrushes come with their own readymade histories and associations which can be unravelled and analysed if rearranged, distorted or realigned to give them new meaning as sculpture.
Carrington’s chosen medium of manipulating, forging, and sculpting metal is laborious and intricate. She works with heating techniques like soldering and welding, the latter of which she learned about a decade ago specifically so she could fuse her metal flowers into elaborate, formidable bouquets. There’s an added complexity as well: Because she uses found objects and scrap metal, initially she doesn’t always know what is under the surface of the material she’s working with.
The internationally known Carrington, who lives and works in Margate, England, has created artwork for the United Nations and the Royal Family as well as having works in the permanent collections of the Victoria and Albert Museum, the Royal College of Art, and numerous private collections including Elton John, Paul Smith, and Lulu Guinness. Among her best known commissions is a 2012 banner for Queen Elizabeth II’s Diamond Jubilee, which she painstakingly constructed out of half a million gold buttons. Carrington also has an official license to produce replicas of royal stamps of the Queen that she similarly constructs with buttons.
Follow: @anncarringtonart
#AnnCarrington
Visit: https://anncarrington.co.uk/
Listen to Talk Art podcast free: @Spotify @ApplePodcasts
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We meet Gary Schneider to discuss his photography, and his collaboration printing for Peter Hujar and other aritsts. Born in South Africa, Gary Schneider is a photographer whose early practices in painting, performance, and film remain integral to his explorations of portraiture. He strives to marry art and science, identity and obscurity, figuration and abstraction, the carnal and the spiritual. He was raised during apartheid, emigrating to New York in 1977 at the age of 22, and much of his work is informed by the racial issues he grew up with. Genetic Self-Portrait (1997-1998), for example, is a series of images of his own genetic material in which nothing identifies race. Also included in this exhibition are forensic images that use the strategies he developed in Genetic Self-Portrait.
These include body imprints of himself and John Erdman, his muse since 1977, and a handprint portrait of the South African artist Senzeni Marasela. It is from a project produced between 2011-2015 funded by a Guggenheim Fellowship which realized Gary’s desire to meet and make portraits of the community of South African artists thriving post-apartheid. He has been making handprint portraits since 1993 and considers them to be as expressive as any portrait of a face, more private, and perhaps more revealing.
In other portraits (face and figure), made since 1988, the person lies under an 8x10-inch camera in the dark. The exposure is made by the artist slowly exploring their features with a small flash-light, over a long period of time. This traces both his and their performances and produces distortions in color and form that he further manipulates during the printing process.
As mentioned in a recent Frieze article: Artist and master printer Gary Schneider was a close friend and occasional subject of Peter Hujar, the New York-based photographer famed for his empathetic photographs of artist and writer friends, drag performers, nude lovers, farm animals and cityscapes. Since Hujar’s death in 1987, Schneider has been entrusted with making prints of his late friend’s work, a process he describes in engrossing detail in his recent book Peter Hujar Behind the Camera and in the Darkroom (2024). More than three decades spent poring over Hujar’s photographs has given Schneider an unrivalled insight into how their austere elegance was achieved. Here, he remembers what it was like to work with Hujar, the ‘eccentricities’ of his prints and how their years of friendship and collaboration inspired his co-curation, with John Douglas Millar, of ‘Eyes Open in the Dark’ at Raven Row in London – the first comprehensive UK survey of Hujar’s photographs to date.
Follow @GarySchneider7
Visit www.garyschneider.net/
and https://ravenrow.org/exhibitions/peter-hujar-eyes-open-in-the-dark
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We meet artist Joe Bradley, on the eve of his new solo show of new paintings in London.
Animal Family is Bradley’s second exhibition with David Zwirner since the announcement of his representation in May 2023. His celebrated debut at David Zwirner New York, Vom Abend, was presented in spring 2024. In November 2025, a major survey of Bradley’s works from the past ten years will open at Kunsthalle Krems, Austria.
In these new paintings, figurative elements—which Bradley had begun to develop in previous works—emerge as central compositional structures. ‘I have never really felt comfortable calling myself an abstract painter,’ says Bradley. ‘There have always been flashes of figuration in my work. For whatever reason, at this moment, I feel ready to let it all come to the surface.’ 1A group of horizontal paintings feature black contour lines that serve as scaffoldings for swaths of colour, floral blots of brushy paint, and scraped and stippled textural patches, which coalesce into hulking, animal-like forms that fill the surface of the support. Bradley builds up these forms until they achieve a loose balance between assembled wholes and disparate parts, establishing a dynamic tension in the work between cohesion and dissolution.
In one painting, pinkish triangles read like teeth extending along a pronounced blue-and-white snout. Lines, shapes, and blots of colour momentarily read like a tail or paw but just as quickly come to stand as distinct visual components. This figural mass rests against a black ground dotted with white, suggesting a dark, star-filled sky. While related to those paintings, several vertical canvases represent a notable evolution in Bradley’s work in which the human form becomes a broad organising principle. Shades of mid-century deconstructed figuration and other art-historical references and associations come through in these large, frontally oriented figures.
Like his constant working and reworking of the formal and compositional elements in his paintings, such associations are part of Bradley’s open and deliberative method of painterly accumulation and adaptation, whereby he constantly reacts and responds to the process of creation itself. In some of these paintings, the figure is quite discernible. In others, the formal elements share only a general relationship to the human form with eyelike ovals or leglike protrusions suggesting bodily architectures. Like the animal associations in the horizontal canvases, these roughly human-scale paintings reinforce such bodily associations, reflecting Bradley’s sensitivity to the formal, compositional, and material qualities of his medium.
Joe Bradley (b. 1975) is widely recognised for his expansive visual practice that encompasses painting as well as sculpture and drawing. Over the past twenty years, Bradley has constantly reinvented his approach to his art, creating a distinctive body of work that has ranged from modular, minimalist-style paintings and sculptures to rough-hewn, heavily worked surfaces featuring pictographic and abstract elements to refined and layered compositions that, as critic Roberta Smith notes, “balance gracefully between representation and abstraction.”
Bradley was born in Kittery, Maine, and received his BFA from the Rhode Island School of Design in 1999. He presently lives and works in New York.
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We meet Alev Ebüzziya Siesbye (b. 1938, Istanbul, TR) is a ceramic artist known for her refined, monochrome stoneware bowls, which she has been producing for nearly sixty years. Working with the ancient coiling technique and a traditional wooden kick wheel, Ebüzziya Siesbye creates vessels that bear the intimate marks of her hand, balancing density and spaciousness, firmness and fragility. Fired at high temperatures, her bowls possess a stone-like solidity, while their sharp-edged lips and small, recessed bases lend them an impression of levitation. Though often unadorned, some pieces feature delicate horizontal lines along the rim to, as the artist describes, “prevent them from lifting off the ground.”
Ebüzziya Siesbye studied sculpture at the Istanbul State Academy of Fine Arts before working at ceramic studios in Höhr-Grenzhausen, DE, and Istanbul. In 1963, she moved to Denmark to join the Royal Copenhagen Porcelain Manufactory, later founding her first independent studio in Copenhagen in 1969. She has lived and worked in Paris since 1987. She has been awarded many honors, including the 2022 Danmarks Nationalbank’s Anniversary Foundation Honor Award and the Aydın Doğan Award, and her work has been the subject of retrospective exhibitions at the Museum of Turkish and Islamic Arts, Istanbul (TR), and the Museum of Decorative Arts, Copenhagen (DK).
Ebüzziya Siesbye’s ceramics are held in numerous museum collections, including the Cooper-Hewitt Museum, New-York (NY); the Victoria and Albert Museum, London (UK); the Los Angeles County Museum of Art (CA); Musée des Arts Décoratifs, Paris (FR); Museum Boijmans Van Beuningen, Rotterdam (NL); the Museum of Decorative Arts, Copenhagen (DK); the Nationalmuseum, Stockholm (SE); the Royal Scottish Museum, Edinburgh, (SCT); and the Museum of Fine Arts, Houston (TX), among others.
Follow @Salon94 on Instagram.
Alev’s current solo show ‘Vibrations’ which runs in New York at Salon 94 until 8th August 2025, address 3 East 89th Street: https://salon94.com/exhibitions/alev-ebuzziya-siesbye-vibrations
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We meet Misan Harriman, photographer, social activist and Oscar Nominated filmmaker.
He is one of the most widely-shared visual storytellers of this age. He is also the first black person in the 104 year history of British Vogue to shoot the cover of its September issue. In July 2021 he commenced his appointment as Chair of the Southbank Centre, London.
His strong reportage style and unique eye for narrative has captured the attention of editors and celebrities around the world. From documenting historic moments in history to photographing high profile celebrities, including Meghan Markle & Prince Harry, Angelia Jolie, Jay-Z, Tom Cruise, Julia Roberts, Giorgio Armani, Rhianna, Cate Blanchett and Olivia Colman, Misan is a photographer of extraordinary range. His striking images have featured in Vanity Fair, Vogue UK, Harpers Bazaar, People Magazine and The Telegraph among others.
His first film, the After starring David Oyelowo is the first Netflix UK original Short and has been nominated for an Academy Award.
Misan is an outspoken activist supporting Diversity and Inclusion in the workplace, he is also a mental health campaigner with a keen interest in Dyslexia and Neurodiversity. He is currently exploring how web3 can help democratise merit based opportunity for disadvantaged artists on a global scale.
He is the founder of Culture3 whose mission is to explain and explore what web 3.0 means for culture, commerce, and society.
Nigeria born, Misan was educated in England where he developed a life-long love for the arts. This led him to picking up a camera and honing his craft. He is completely self-taught, his work is inspired by Gordon Parks, Sally Mann, Eve Arnold, Bruce Davidson, Norman Parkinson and Peter Lindbergh.
SXSW London presents: Misan Harriman: Shoot the People Part of SXSW London 2025. British-Nigerian photographer Misan Harriman investigates how protest movements shape social change. Following his debut White Nanny, Black Child, director Andy Mundy-Castle turns the camera on Oscar-nominated British-Nigerian photographer and activist Misan Harriman, who became the first Black man to shoot a cover of British Vogue in 2021 and has captured modern icons such as Meghan Markle and Prince Harry, Rihanna, Stormzy, Cate Blanchett, and Tom Cruise. In Shoot the People, Harriman examines how protest and organised movements can lead to social change, all while capturing the resilience of activism through his lens.
In July 2025, Harriman will have his debut solo exhibition of his photography in London at Hope93 gallery. https://hope93.com/
Follow @MisanHarriman
Visit https://www.misanharriman.com/
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Season 25 begins! We meet Juergen Teller, one of the world’s most sought-after contemporary photographers, successfully straddling the interface of both art and commercial photography.
Teller (b.1964) grew up in Bubenreuth near Erlangen, Germany. Teller graduated in 1986 and moved to London, finding work in the music industry shooting record covers for musicians such as Simply Red, Sinéad O’Connor and Morrissey with the help of the photographer, Nick Knight. By the early 1990s, he was working for avant-garde fashion magazines such as i-D, The Face, Details and Arena. Teller has collaborated with many fashion designers over the years, including Helmut Lang, Marc Jacobs, Yves Saint Laurent, Vivienne Westwood, Celine and Louis Vuitton.
Teller was the recipient of the Citibank Photography Prize in association with the Photographer’s Gallery, London in 2003. In 2007, he represented the Ukraine as one of five artists in the 52nd Venice Biennale. Teller has exhibited internationally, including solo shows at the Photographer’s Gallery, London (1998), Kunsthalle Wien, Vienna (2004), Foundation Cartier, Paris (2006), Kunsthalle Nürnberg, Germany (2009), Daelim Contemporary Art Museum, Seoul (2011), Dallas Contemporary, USA (2011), Institute of Contemporary Art, London (2013), Deste Foundation, Athens (2014), Contemporary Fine Arts, Berlin (2015) and Bundeskunstalle, Bonn (2016).
Teller’s work is featured in numerous collections around the world, including the Centre Pompidou, Paris; International Center for Photography, New York; Pinchuk Art Centre, Kiev; and the Victoria & Albert Museum, London. He has published forty-one artist books and exhibition catalogues since 1996. He currently holds a Professorship of Photography at the Akademie der Bildenden Künste Nürnberg, and lives and works in London.
Follow @JuergenTellerStudio and https://www.juergenteller.co.uk/
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We meet artist Chris Levine, a British contemporary artist renowned for his pioneering work with light and lasers. His innovative approach transcends traditional mediums, integrating technology and spirituality to create immersive art installations that challenge and expand human perception.
Levine's multidisciplinary practice encompasses installation, photography, performance, fashion, music, and design. He employs lasers and sound frequencies to craft environments that engage viewers on both sensory and contemplative levels. This synthesis of technology and art positions Levine's work within a broader historical context, aligning with movements that seek to transcend the physical and delve into the metaphysical.
A seminal piece in Levine's portfolio is "Lightness of Being" (2004), a holographic portrait of Queen Elizabeth II. This work has been lauded for its spiritual depth and technical mastery, with the National Portrait Gallery describing it as "the most evocative image of a royal by any artist." The portrait captures the ethereal quality of light and presence, reflecting Levine's ability to merge artistic expression with technological innovation.
Beyond portraiture, Levine has engaged in numerous projects that bridge various artistic disciplines. In 2012, the artist partnered with Anohni and the Johnsons for their "Swanlight" performance at Radio City Music Hall, commissioned by the MoMA, New York, integrating laser with musical performance and creating a multisensory experience.
Levine’s site-specific large scale installations have pushed the boundaries of light art, taking diverse settings from the historic Durham Cathedral to the contemporary landscape of Hobart, Tasmania. Aligned with the traditions of public art inspiring communities, Levine’s works make immersive art accessible to broader audiences.
In 2021, Levine's exhibition at Houghton Hall, 528 Hz Love Frequency, featured "Molecule of Light," a monumental 25-meter-high sculpture that transformed the landscape and cemented his innovative approach to light art. This installation not only showcased the artist’s technical prowess but also his ability to harmonize art with architectural space, creating a dialogue between the artwork and its environment.
Through his multidisciplinary practice, Levine continues to explore the infinite possibilities of light in art, contributing to the ongoing dialogue on the intersection of technology, spirituality, and visual expression. His work stands as a testament to the transformative power of art, inviting viewers to experience the world through a lens of heightened awareness.
Follow @ChrisLevine on Instagram
Visit: https://chrislevine.com/
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Best known for his figurative paintings and pastels, which evoke a luminous, dreamlike reality, TM Davy conjures intimate worlds where figures glow with an almost metaphysical presence, transcending the purely visual. Light and form take on an ethereal quality, reflecting emotions, memories, and the quiet subtleties of human experience. Every brushstroke, every shift of light, seems imbued with a deeper resonance — suggesting that the figures portrayed are not mere representations but vessels of something otherworldly, carrying with them the weight of untold stories and silent truths.
Blending careful realism with archetypal symbolism, Davy’s work explores love as a sphere of magic and protection — a space where human connection is not just physical, but transcendent; where bonds are forged in realms of the spiritual and the unseen. His figures often seem suspended in a state of grace, bathed in light that is both gentle and intense, creating an atmosphere of reverence and awe. His work suggests that love, in its purest form, is both a force of transformation and a quiet shield — invisible, radiant, and profound.
Grounded in the belief that all of art history informs the present, Davy’s technique is marked by a virtuosic layering of colour and a masterful use of light and shadow. His attention to texture and hue draws deeply from classical tradition, while his handling of paint — confident, gestural, at times joyously loose — is unmistakably contemporary. With a lineage that stretches from Reynolds to Turner, Davy takes us to a threshold where intimacy, mystery, and the inner self converge. He stands at the intersection of classical technique and modern sensibility, drawing on the rich tradition of portraiture to create images that feel at once ancient and immediate. Through his luminous compositions, he invites us to pause and reflect — to step into a space where the boundaries between the real and the imagined dissolve, and where the soul’s journey is lit by love, presence, and the quiet mysteries of being.
Over the past few months, Davy has been living and working in Margate, creating an exhibition deeply attuned to its elemental surroundings. Rooted in the present moment, yet echoing timeless myth, the works are shaped by the sea, the chalk cliffs, and the ancient caves that punctuate the coast. These landscapes are not just scenery but portals, inhabited by archetypal beings — Satyrs, Mermaids, White Horses — who rise from seafoam and shadow, conjured from deep cultural memory as much as from the terrain itself. The show is at once an homage to place and a meditation on the mythic — a bridge between the ancient and the now.
Davy has the rare ability to render his subjects and scenes with an acute physical presence — they feel almost touchable, real — all the while keeping us fully aware that these are just paintings. He revels in paint’s materiality, with areas of sumptuous brushwork, loose rhythms, and a heightened palette that amplifies the intensity and luminosity of the image. His approach knowingly risks oversentimentality in the pursuit of a higher realm of expression: an emotional frequency that calls us to remain in the present, to feel fully, and to glimpse — even momentarily — the shared magic of human connection.
Follow @TMDavy on Instagram.
TM Davy's Tine Mara runs from 27th April until 22nd June 2025.
Preview is Saturday 26th April 6-8pm, Carl Freedman Gallery, Margate, UK.
Visit @CarlFreedmanGallery and https://carlfreedman.com/exhibition/tm-davy/
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Delaine Le Bas works in a transdisciplinary way: she combines visual, performative and literary practices to create an artistic oeuvre that encompasses all areas of life. In her works she deals with many facets, political as well as private and emotional, which involve belonging to the Rom*nja people, their history and rich cultural heritage.
Within her work, Delaine Le Bas transforms her surroundings into monumental immersive environments filled with painted fabrics, theatrical costumes and sculptures. Her art draws on the rich cultural history of the Roma people and mythologies, focusing on themes of death, loss and renewal.
Le Bas reflects on her identity, grief and the intertwining of art and life as she says: 'My whole life is just one whole thing. I don't think it's divided off, really.... What I'm like and what I dress like, and then what I do. It's like one big piece of work.'
English-Romani artist Delaine Le Bas lives and works across the UK and Europe. Born in 1965 in Worthing, she graduated from Central St Martin’s and her work explores themes of nationhood, land, belonging, and gender through various media such as embroidery, painting, collage, sculpture, installation, and performance. Describing the intertwined nature of her identity and her work, Le Bas has stated “…as a Romani, my viewpoint has always been that of the outsider and this position of the 'other' is reflected in the materials and messages within my work. We live in a culture of mixed values and garbled messages. My works are crafted from the disregarded and disparate objects of the car boot sale and the charity shops."
Le Bas has played a significant role in the building of a Roma/Traveller contemporary art movement and aesthetic. Her work has been featured in the 52nd and 58th Venice Biennales and the Gwangju Biennale in 2012. She co-curated the first Roma Biennale, 'Come out Now!', in Berlin in 2018. She was Delaine Le Bas was nominated for the 2024 Turner Prize, with an exhibition at Tate Britain, and is currently artist-in-residence at The White House, Dagenham; a contemporary and community art space operated by Create London. https://www.whitehouseart.org/delaine-le-bas
Stranger in Silver Walking on Air by DELAINE LE BAS, is a new solo exhibition running until 27th September 2025, at The White House, Dagenham: https://createlondon.org/event/atchin-tan-by-delaine-le-bas/
Step into an immersive exhibition that transforms The White House on the Becontree Estate into a dreamlike space of shifting, layered imagery with textile, sculptural objects, glasswork and interactive installations.
From 31st May - 2nd August 2025, Newcastle Contemporary Art proudly presents +Fabricating My Own Myth – Red Threads & Silver Needles, a solo exhibition by artist Delaine Le Bas, who continues her exploration of linguistics, mythology, and Gypsy Roma Traveller narratives through the tactile power of textiles, language, and storytelling: https://www.visitnca.com/exhibitions/delaine-le-bas
Follow @DeDeLeBas
Visit: https://www.delainelebas.com
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We meet Gary Kemp, one of the UK’s most successful songwriters of the past 40 years. As guitarist and founding member of the most influential and iconic band of the 80s, Spandau Ballet, he was responsible for writing the words and music for 23 hit singles and albums, including modern day standards like True and Gold. We discuss his passion for the Arts & Crafts movement, William Morris, collecting, and living with, Edward William Godwin furniture, the 70s and 80s creative scene in London, and why art and design is so important to his life.
Gary’s songs have had an extraordinary combined total of over 500 weeks in the charts and are hits all over the world. They’ve generated over 25 million record sales and the songs were part of the soundtrack to the 80s. Last year, he received the BMI Icon Award at the 2023 BMI London Awards for his contributions to popular culture and music. He joined an elite group that includes The Bee Gees, Crosby, Stills & Nash, Ray Davies, Peter Gabriel, Queen, Sting, and Van Morrison.
Kemp’s songs have proven truly timeless. The ubiquitous hit single True has logged over 5 million air plays in North America alone, and his songs have featured in an incredible 100 feature films over the years including Sixteen Candles, The Wedding Singer, Charlie’s Angels, Pixels and Crazy Stupid Love as well as countless TV programs including The Simpsons, Spin City, Gilmore Girls (all three times each) Euphoria, Modern Family and, Ugly Betty plus many, many more.
In 2012, he was presented with the Ivor Novello's prestigious Outstanding Song Collection award. Gary has also won numerous awards and accolades for his work in Spandau Ballet, including an MTV award, a Brit and a Q award.
In recent years, Gary has become synonymous with the Rockonteurs podcast which he hosts with fellow musician Guy Pratt, interviewing music legends and becoming the most listened to music podcast in the UK. Gary is a Trustee of the Theatres Trust with a passion for keeping theatres at the heart of communities.
Gary grew up in Islington (born October 16, 1959) and attended local grammar school Dame Alice Owens and Anna Scher’s Children’s Theatre drama club, becoming a child actor in film and TV before concentrating on playing guitar and songwriting and forming Spandau Ballet . In the 90s, Gary decided to return to acting, starring in numerous films including hugely successful British crime thriller, The Krays and Hollywood blockbuster, The Bodyguard. He has continued to feature regularly on stage and in film and TV.
Follow @GaryJKemp
Visit https://www.garykemp.com to learn more about his new album This Destination, out now.
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We meet BAFTA winning producer Susie Hall to discuss the work of late artist David Robilliard and the Documentary she made with Talk Art’s very own Russell Tovey.
Recorded live at TKE Studios, Margate, special thanks to Elissa Cray and all at the Tracey Emin Foundation.
Artist David Robilliard changed Russell Tovey’s life. It was Robilliard who inspired Tovey’s love of art, his free attitude towards sex, as well as his own sexuality. He is one of the most important people in Tovey’s life, despite the fact that they never met (sadly Robilliard died of AIDS before Tovey hit double digits). In this WePresent film Tovey embarks on a highly personal and intimate journey to discover who the artist truly was through the people Robilliard drank with, worked with, slept with and laughed with.
Though Russell Tovey and David Robilliard never met, Robilliard has remained a totemic presence in Tovey’s life, a source of strength, companionship and constant inspiration. In the emotional short documentary film “Life Is Excellent”, Tovey launches into a mission to track down and meet Robilliard’s friends, lovers and colleagues in an attempt to deepen his understanding of who Robilliard was and what his true legacy has become. Some of these people have never spoken publicly about him before.
Although Tovey thinks he knows a lot about Robilliard, the journey throws up revelations, challenging the vision Tovey has constructed of his hero. As is often the case when trying to understand people after they’ve gone, the question of “who was this person”, becomes not quite an answer but a testament to how beautiful, complex and contradictory each of us is.
Robilliard, like so many working artists taken before their time, has remained shrouded in semi-obscurity since his death in 1988 from AIDS. Tovey is rightly concerned about the risk of him being forgotten forever. “It could’ve been me, if I’d been born ten years earlier. And I feel like I’m part of a lucky generation,” explains Tovey of the loss of artists to AIDS in the film. “I feel a responsibility to make sure people know who David Robilliard is because we should put people back into history that disappeared.”
Now, through all these touching interviews, performance pieces of Robilliard’s work by the likes of Bimini Bon Boulash, Harry Trevaldwyn and Self Esteem and displays of his artworks, WePresent is proud to help ensure that David Robilliard and his artistic vision is memorialized.
Stream Life is Excellent documentary for free via WePresent https://wepresent.wetransfer.com/stories/life-is-excellent-russell-tovey-david-robilliard and YouTube: https://youtu.be/U7_ic49H2gg
Follow @SusieHall_23
Thank you to WePresent and Damian Bradfield.
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