Show Notes
The garden has long been an important subject matter of the British history of art, but what of the medicinal garden, its visual culture and aesthetics, its significance as a sensory and experimental site, and for artists? This episode brings together a set of scholars whose diverse researches shed new light on the physic, botanical and medicinal garden from the medieval to the eighteenth century. A wide-ranging discussion will consider the relationship between the garden and health, engagements between science and design in the garden, and the visual / literary culture of the medicinal garden.
More from British Art Talks
This series, Experiments in Art Writing, features a set of highly innovative UK-based art writers, asking them to describe the encounters, materials, voices and texts that have shaped the very form of their writing.
This series, Experiments in Art Writing, features a set of highly innovative UK-based art writers, asking them to describe the encounters, materials, voices and texts that have shaped the very form of their writing.
This series, Experiments in Art Writing, features a set of highly innovative UK-based art writers, asking them to describe the encounters, materials, voices and texts that have shaped the very form of their writing.
This series, Experiments In Art Writing, features a set of highly innovative UK-based art writers, asking them to describe the encounters, materials, voices and texts that have shaped the very form of their writing.
Ryan Gander’s inventive, shapeshifting and associative works materialise in many forms ranging from sculpture and writing to painting and performance. His engagement with histories is not without mischief, in his 2006 work A Future Lorum Ipsom, Gander invented a palindromic word, ‘Mitim’, designed to be inserted without comment into newspapers, magazines, crosswords or everyday speech, meaning ‘a mythical word newly introduced into history as if it had always been there’. In this episode of British Art Talks, an array of artists is enlisted in a quixotic project: a countdown from fifty in bingo calls. The funny, rhyming calls evoke a history of a game of pure chance, based on random numbers, dating from the early eighteenth century in Britain. They include visual puns and enigmatic idiom. They speak of clandestine activity, village halls and commercial leisure. First, a story, part of a beat poem, narrated by Ryan as author, to his daughter, Penny, in a disarming and semi-autobiographical form: a history of the artist navigating, inventing, transforming, ludic, in time.