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About This Event
– This event takes place in the Zilkha Auditorium at Whitechapel Gallery
– You must purchase a ticket to attend the event. Concession tickets are available. If you require a Personal Assistant to support your attendance, we can offer them a seat free of charge, but it must be arranged in advance.
– This event is suitable for those over the age of 16
– We are unable to provide British Sign Language interpretation for this event
– We are unable to provide live closed captioning or CART for this event.
– This event last approximately 1.5 hours. There are no rest breaks currently scheduled during this event.
– An audio recording of the event can be obtained by emailing email@example.com following the event.
– To the best of our knowledge, there are no planned disruptions to local transport on the date of the event.
– Our nearest train station – Aldgate East Underground (1 min) is not wheelchair accessible. The closest wheelchair accessible stations are Whitechapel (15 min), Shoreditch High Street (15 min) or Liverpool Street (15 min).
– Free parking for Blue Badge holders is available at the top of Osborn Street in the pay and display booths for an unlimited period. Spaces are available on a first come, first served basis.
Please note: we audio record all events for the Whitechapel Gallery Archive. This audio material may also be used for our Hear, Now podcast series.
In celebration of A Century of the Artist’s Studio: 1920–2020, this unique event offers the opportunity to hear from the exhibition’s curatorial committee as they discuss the extensive research and innovative ideas that underpin the show. Expect behind-the-scenes insights as art historians, critics and co-curators Dawn Ades, Richard Dyer and Hammad Nasar, alongside artist Manisha Gera Baswani shed light on the exhibition’s fascinating themes and international histories together with former Whitechapel Gallery Director Iwona Blazwick.
A combined talk and exhibition ticket can also be purchased at a discounted rate.
Dawn Ades is Professor Emerita of the History and Theory of Art at the University of Essex, where she taught from 1968 to 2008. Her research concentrates on Dada, Surrealism and Latin American Art, and publications include Photomontage (Thames & Hudson 1976/1981), Salvador Dalí (1982), André Masson (1994), Marcel Duchamp (with N. Cox and D. Hopkins, 2000), Writings on Art and Anti-Art (2015). Among the exhibitions she has curated or co-curated are Dada and Surrealism Reviewed (Hayward Gallery, 1978), Art in Latin America 1820-1980 (Hayward Gallery, 1989) and Dalí/Duchamp (Royal Academy, 2017-8). She is Professor of the History of Art at the Royal Academy and in 2013 was made a CBE for services to higher education.
Richard Dyer is Editor-in-Chief of Third Text: Critical Perspectives on Contemporary Art and Culture, and a Contributing Editor to Ambit literary magazine. He is a widely published art critic, reviewer, poet and fiction writer, and a practising artist and musician. His critical writing has been published in Third Text, Frieze, Flash Art, Art Review, Art Press (London Correspondent), Wasafiri, The Independent, The Guardian, Time Out and many other publications and exhibition catalogues. He has published two major monographs: Making the (In)visible in the Work of Mark Francis (Lund Humphries, 2008); and Wolfe von Lenkiewicz (Anomie Publishing, 2016).
Hammad Nasar is a curator, writer, and was Head of Research and Programmes at Asia Art Archive (AAA), Hong Kong (2012-2016), where he initiated the collaborative London, Asia project with the Paul Mellon Centre where is currently Senior Research Fellow. He co-founded (with Anita Dawood) the non-profit arts organisation Green Cardamom (2004-2012). He is co-curator (with Irene Aristizábal) of British Art Show 9 (2021–2022); Principal Research Fellow at the Decolonising Arts Institute, UAL where he is developing the ‘Curating Nation’ project; and, Lead Curator at Herbert Art Gallery & Museum to support Coventry’s City of Culture Programme for 2021-22, which includes curating the Turner Prize exhibition in 2021.
Manisha Gera Baswani is a visual artist creating cultural landscapes of connections across Asian traditions, weaving expressions that comprise painting, photography, sculpture, and poetic writing.
She is the curator and creator of the ongoing legacy photographic project Artist through the Lens, which intimately documents studios of artists and denizens across the arts community from the Indian subcontinent, through the last two decades.
Postcards from Home, is an aligned sister series to ‘artist through the lens’, evolving as an equally historic documentation of 47 artists from India and Pakistan, with a shared history and lineages from the Partition of India in 1947. It is also a personal homage to her parents’ memories of the ‘home’ they left behind as they moved to India, and where her own journey begins.
‘Manisha is the curator of her teacher and legendary artist, A Ramachandran’s major solo show The Changing Mood of the Lotus Pond and Insignificant Incarnations for Vadehra Gallery in October 2018. She has shared the genesis, spirit, and evolution of her unique art practice across various platforms including TEDx 2019