Ben Luke talks to the British artist Helen Marten about her influences—including those from the worlds of literature, music, and, of course, art—and the cultural experiences that have shaped her life and work. Marten works in sculpture, text and screen-printed paintings and has created a complex language of forms with a remarkable breadth of materials. Her works entice us to make associations and draw meanings, while remaining richly ambiguous. She discusses her early interest in Joan Miró and Robert Rauschenberg, her enduring passion for the art of Martin Kippenberger and Charline von Heyl, and her absorption in the writing of Roland Barthes as well as Gilles Deleuze and Félix Guattari. Plus, she reflects on life in the studio and answers our usual questions, including the ultimate one: what is art for?Helen is co-curator and exhibition designer for Hervé Télémaque: A Hopscotch of the Mind, Aspen Art Museum, Colorado, US, until 26 March 2023. Hosted on Acast. See acast.com/privacy for more information.

Ben Luke talks to Theaster Gates about his influences—including writers, musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Gates is an artist whose every gesture is transformative, whether that’s in the form of social projects in his native Chicago, works repurposing found materials from significant disused spaces in the city, presentations honouring and reimagining collections of materials he’s gathered over time, or the ceramic sculptures that were his earliest medium and remain at the heart of his work today. He discusses his engagement with artists as diverse as El Lissitzky, Agnes Martin and Arthur Jafa; his transformative encounters with Martin Puryear and bell hooks; how he came to be custodian of Chicago House pioneer Frankie Knuckles’s personal vinyl collection; and his abiding passion for ceramics, which, he says, are “made for the eternal as much as they are made for tea”. Gates also gives insight into his life in the studio and answers our usual questions, including the ultimate one: what is art for?Theaster Gates: Young Lords and Their Traces, New Museum, New York, until 5 February 2023; Vestment, Gagosian, New York, until 23 December; A Movement in Every Direction: Legacies of the Great Migration, Baltimore Museum of Art, until 29 January 2023. Hosted on Acast. See acast.com/privacy for more information.

Ben Luke talks to John Akomfrah about his influences—including writers, musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work.Akomfrah was born in Accra, Ghana, in 1957 but has been based in London since he was a child. From his early years with the Black Audio Film Collective to his recent works as a solo artist, he has explored major issues—including racial injustice, colonialist legacies, diasporic identities, migration and climate change—through a distinctive approach to memory and history. First shown on television and in the cinema, his films are increasingly made for museums and galleries, in the form of ambitious, often epic, multi-screen video installations. He is one of the great film-makers of the last few decades. He discusses discovering Jackson Pollock through Ornette Coleman’s Free Jazz album, his early experiences of the Tate Gallery and ongoing love of J.M.W. Turner’s paintings, his passion for John Milton’s Paradise Lost and Virginia Woolf’s The Waves, and his enduring engagement with music from post-punk to John Luther Adams. He also gives us insight into his studio life and answers our usual questions, including the ultimate one: what is art for?John Akomfrah: Purple, Hirshhorn Museum, Washington, D.C., 28 October–summer 2023; The Unfinished Conversation, Tate Britain, London, until the end of 2022. A new work will be shown at the Sharjah Biennial, 7 February-11 June 2023, and The Box, Plymouth, UK, from December 2023. Hosted on Acast. See acast.com/privacy for more information.

Ben Luke talks to William Kentridge about his influences—from the worlds of literature, music, film and, of course, art—and the cultural experiences that have shaped his life and work. Kentridge was born in 1955 in Johannesburg, South Africa, and began his career making large-scale drawings. But his work has grown to encompass film and video installation, sculpture, tapestry, sound, performance, and puppetry. It teems with imagery and ideas, reflecting on his autobiography, on the inequities of Apartheid South Africa, but also on broader histories from colonialism to communism and beyond. He discusses being surrounded by Miró and Matisse as a child, his homages to Beckmann and Manet, the enduring power of composers like Shostakovich and early filmmakers like Georges Méliès, and the poetry of Vladimir Mayakovsky. Plus, he gives insight into life in his studio, and answers our usual questions, including the ultimate: what is art for?William Kentridge, Royal Academy of Arts, London, until 11 December; William Kentridge: Oh To Believe in Another World, Goodman Gallery, London, 1 October-12 November. William Kentridge: In Praise of Shadows, the Broad, Los Angeles, 12 November-9 April 2023. William Kentridge: That Which We Do Not Remember, M. K. Čiurlionis National Museum Of Art, Kaunas, Lithuania, until 30 November. Kentridge’s series of short films, Self Portrait as a Coffee Pot, is shown at the ICA, London, as part of the BFI London Film Festival on 7 October. Hosted on Acast. See acast.com/privacy for more information.

Ben Luke talks to Anicka Yi about her influences—from the worlds of literature, music and, of course, art—and the cultural experiences that have shaped her life and work. Yi creates installations and objects that sit on the borders of art and science. Drawing on research into biology, and particularly macrobiotics, but embedded in geopolitics, Yi’s work calls for a deep sensory engagement from the viewer, with smell as important as sight. In fusing different categories of knowledge, she questions what she calls “the increasingly hazy taxonomic distinctions between what is human, animal, plant and machine”. She discusses being “possessed” by the formal language of Isamu Noguchi and inspired by the breadth of Rosemarie Trockel’s work; she reflects on the impact of John Ashbery’s poetry and how Donna Haraway prompted her series When Species Meet (2016). Plus, she gives insight into life in her studio (and how it compares to a laboratory) and answers our usual questions, including: what is art for?Anicka Yi, Gladstone Gallery, 24th Street, New York, 6 October-12 November Hosted on Acast. See acast.com/privacy for more information.

In this 50th episode of A brush with…, Ben Luke talks to Glenn Brown about his influences—from writers to film-makers, musicians and, of course, artists—and the cultural experiences that have shaped his life and work. Brown (born in Hexham, UK, in 1966) takes reproductions of other artists’ works—including those by Old Masters, the greats of Modern art and science-fiction illustrators—and transforms them by changing their colour, orientation and size. It leads to paintings, drawings and sculptures that are often grotesque and macabre but always strangely enticing and resonant. He discusses his early love of the art of horror and fantasy, his ongoing fascination with Salvador Dalí, his admiration for artists as diverse as Hendrick Goltzius and Maria Lassnig, the impact of Andrei Tarkovsky’s films, the writing of T.S. Eliot and Samuel Beckett, and how growing up during the Cold War influenced the music he listened to and the art he makes today. Plus, he gives intimate insight into his working life and answers our usual questions, including “What is art for?”.Glenn Brown: We’ll Keep On Dancing Till We Pay the Rent, Gagosian, West 24th Street, New York, 10 November-23 December; Things: A History of Still Life Since Prehistoric Times, Musée du Louvre, Paris, 13 October-23 January 2023; Glenn Brown: The Real Thing, Landesmuseum and Sprengel Museum, Hannover, Germany, 23 February-24 June 2023; The Brown Collection, Brown’s museum of his own work, opens in Bentinck Mews, Marylebone, London, in October 2022. Visit Glenn’s website glenn-brown.co.uk for more details. Hosted on Acast. See acast.com/privacy for more information.

Ben Luke talks to Adam Pendleton about his influences—from the worlds of literature, music and, of course, art—and the cultural experiences that have shaped his life and work. Pendleton, born in 1984 in Richmond, Virginia, makes paintings, drawings, performances, films and other works exploring the relationship between Blackness, abstraction and histories of the avant-garde. He is perhaps best known for an ongoing body of work he calls Black Dada. He discusses the influences behind Black Dada, from the poetry of Amiri Baraka to the sculpture of Sol LeWitt, reflects on the drawings of Jean Dubuffet and the drafts and revisions of Joan Jonas’s work, and enthuses about the power of Nina Simone’s voice and Julius Eastman’s compositions. Plus, he gives insight into his studio life and answers the ultimate question: what is art for?Adam Pendleton: In Abstraction, Pace Gallery, Geneva, 7 September-5 October; Adam Pendleton: Toy Soldier, Galerie Eva Presenhuber, Zurich, 10 September-26 November. Whitney Biennial: Quiet as It’s Kept, Whitney Museum of American Art, until 5 September. Adam Pendleton, Mumok, Vienna, 31 March-10 September 2023. Hosted on Acast. See acast.com/privacy for more information.

Pierre Huyghe, an artist known for his experimentation with exhibitions and the nature of art, discusses his influences and cultural experiences. He explores his admiration for artists like Daniel Buren and talks about his response to the musical works of John Cage. Huyghe also delves into his early interest in the 'multiplicity of things' and his projects exploring the cinema of Pasolini and Hitchcock. He offers insights into his daily studio life and answers the ultimate question: what is art for?

Ben Luke talks to the Canadian-Korean artist Zadie Xa about her influences—from the worlds of literature, film, music and, of course, art—and the cultural experiences that have shaped her life and work. Xa was born in 1983 in Vancouver, Canada, and is now based in London. She explores folklore and speculative fiction, familial and collective histories, diasporic identity and the climate emergency through painting, sculpture, film and performance, often brought together in fantastical installations. She talks about artists from Lee Bul to Hieronymus Bosch and Kara Walker; her interest in Korean folk art and folk tales; how she returns to the science fiction novels of Ursula K. Le Guin and Octavia E. Butler; and the early and ongoing influence of hip hop and rappers like Cam’ron. Plus, she gives insight into her life in the studio and answers our usual questions, including the ultimate: what is art for?Zadie Xa: House Gods, Animal Guides and Five Ways 2 Forgiveness, Whitechapel Gallery, London, 20 September-May 2023; The Condition of Being Addressable, Institute of Contemporary Art, Los Angeles, until 4 September; Hospital Rooms: Like there is hope and I can dream of another world, Hauser & Wirth, London, 19 August-14 September; Wonder Women, Jeffrey Deitch, Los Angeles, 3 September-22 October; Soy Dreams of Milk, Blindspot Gallery, Hong Kong, from 10 September; The New Bend, curated by Legacy Russell, Hauser & Wirth, Los Angeles, 27 October-30 December; The Horror Show: a Twisted Tale of Modern Britain, Somerset House Studios, London, 27 October-19 February 2023; Jeju Biennale, Jeju Island, South Korea, 16 November-12 February 2023 Hosted on Acast. See acast.com/privacy for more information.

Ben Luke talks to Lina Iris Viktor about her influences—including writers, film-makers, musicians, and, of course, other artists—and the cultural experiences that have shaped her life and work. Born in the UK in 1987, the Liberian-British artist works in painting, sculpture, photography, performance and installation. She creates works that reflect on her own identity amid broader themes—history and geopolitics, astrophysics and maths, ancient myths and belief systems—to explore universal implications of blackness. Among much else, she discusses her love of Rebecca Horn’s Concert for Anarchy (1990); the influence of Chris Ofili, Louise Nevelson and Seydou Keïta; her enduring engagement with the writing of Jun'ichirō Tanazaki and Sylvia Plath; and her response to the films of Ingmar Bergman and Carl Dreyer. And, as usual, we find out about her life in the studio, and ask the ultimate question: what is art for?In the Black Fantastic, Hayward Gallery, London, until 18 September; Rite of Passage: Lina Iris Viktor with César, Louise Bourgeois, Louise Nevelson and Yves Klein, LGDR, London, until 17 September Hosted on Acast. See acast.com/privacy for more information.