THE BRITISH LIBRARY

Sound and vision blog

35 posts categorized "Events"

06 July 2020

Recording of the week: Barbara Kruger in conversation

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This week's selection comes from Dr Eva del Rey, Curator of Drama and Literature Recordings and Digital Performance.

Barbara Kruger, ‘You Are Not Yourself’, 1981
Barbara Kruger, ‘You Are Not Yourself’, 1981 © Image: callejero / VisualHunt.com / CC BY-NC-ND

Listen to a recording of visual artist Barbara Kruger in conversation with the art historian Griselda Pollock at the Institute of Contemporary Arts (ICA), London,1991.

Barbara Kruger ICA London 1991

Barbara Kruger is best known for her found photographs in black-and-white, overlaid with eye-catching text, displayed on billboards, banners, bumper stickers, postcards and the likes. Her work addresses social issues, gender representation, violence against women, misogyny, power politics and the pitfalls of capitalism and consumerism. She deconstructs commonly held assumptions with forthright eloquence, bold humour and open-ended meaning:

‘I shop therefore I am’.

‘Your body is a battleground’

‘It’s a small world but not if you have to clean it’

In addition to her photographic and collage work she makes large-scale immersive installations covering all areas of the exhibition space. She also creates works on film and video.

Kruger has exhibited both outdoors in public spaces and indoors in galleries and museums. Some of her more recent creations include the design of the cover of the New York Magazine pre-election issue (2016 USA elections), published on the 31st October, showing a closely cropped image of Donald Trump’s face overlaid with the word 'LOSER'; an installation entitled Untitled (Skate) at the Coleman Skate Park in New York in 2017; and in 2018, a large-scale mural painted in the colours of the Argentinian flag covering an abandoned grain silo in Puerto Madero, Buenos Aires, Untitled (No Puedes Vivir Sin Nosotras / You Can’t Live Without Us).

Barbara Kruger started making art in the 1970s leaving behind a successful career as a graphic designer for magazines such as Mademoiselle. She first exhibited in London at the ICA in 1983. Later in 2014, she had a large solo exhibition Untitled (Titled) at the Modern Art Oxford Gallery, and her next show, set to open at the Art Institute of Chicago this November 2020, Thinking of You. I Mean Me. I Mean You, is expected at the Hayward Gallery in London, in 2021. This will be her biggest exhibition in 20 years, featuring four decades of her work.

In this 1991 recording at the ICA she talks about the importance of making art that is accessible to everyone and why she challenges being called a feminist conceptual artist:

‘I’ve never felt myself defined or defined myself as a maverick girl, feminist artist, and nobody was searching for women artists to take up, you know. Perhaps they are beginning to do it now in NY, but we made our presence known and forced the issue. No one was looking for us, in fact they were looking the other way’ (20:59).

This recording is part of the ICA collection C95, available online on British Library Sounds. It is made up of 889 sound recordings of talks and discussions with prominent writers, artists and filmmakers, which took place at the Institute of Contemporary Arts, London, between 1982 and 1993.

Follow @BL_DramaSound and @soundarchive for all the latest news.

08 June 2020

Recording of the week: Michiko Hirayama singing Scelsi

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This week's selection comes from Lucia Cavorsi, Audio Project Cataloguer for Unlocking our Sound Heritage.

Between 1978 and 1994 the Institute of Contemporary Arts ran an annual series of contemporary music concerts called MusICA. Among the works programmed were those by Italian-born composer Giacinto Scelsi (1905-1988). Little known and ostracised by music academic entourages of the time throughout his life - French composer Pierre Boulez branded him as an amateur - he became well known around the 1980s and is today considered one of the pioneering figures of minimalist and microtonal music.

Fascinated in the 1940s with the teaching of the Second Viennese school and its characteristic twelve-tone music, he shifted in the 1950s towards more radical and experimental avenues. His interest in mysticism and esoterism largely influenced him. Testament to this is a Zen symbol added to his signature on all of his scores. Oriental philosophies didn’t much influence his compositional methods, but rather provided concepts through which to compose music.

His main musical teaching was that the whole world depends on sound. The repetition of a single sound, in particular, is central to his ideas. He writes: ‘my music is not this, nor that, it’s not dodecaphony nor pointillism, it’s not minimalist either [...]. Notes are just wrappers […]. Sound is spherical, but we always tend to see it in terms of duration and frequency. That is not right. Every spherical element has a centre […]. We need to get to it. By hitting for a long time the same note, the note itself becomes bigger, it grows so much that its own harmony surfaces and enlarges within it’. A single sound loses then its status of one among equals with other notes in a piece, and becomes the essence of it, through the continuous elaboration of its frequency.

Scelsi's research determined, between 1952 and 1978, avant-garde compositional techniques which mainly involved improvisations both with piano and instruments producing quarters and octaves of tones, like the ondioline. His musical journeys were not only free of any constrictions, but also free from transcriptions (which he left to his collaborators, after recording his works on tape). The appreciation of the verticality of a sound, led him to further investigate musical timbre, and to appreciate the human voice as one of the most powerful instruments capable of breaking sonic structure.

Michiko Hirayama
Courtesy of Fondazione Isabella Scelsi

Among his closest collaborators was Michiko Hirayama (1923-2018), the Japanese singer historically associated with the performance of ‘Canti del Capricorno’, the 20-song cycle that Scelsi wrote specifically for her voice. The microtonal inflections in her technique while interpreting classical Japanese pieces had in fact soon captured him.

Scelsi officially wrote the cycle between 1962 and 1972. During an interview with musical artist Arturo Tallini though, Hirayama explains how it actually took her four decades to reach interpretative perfection of the cycle’s vocal part. Firstly, the manuscripts contained notes with just phonemes pencilled down to which she had to add her own improvisation and vocal experiments so as to become the instrument of the song itself rather than its interpreter, quite an open-ended task; secondly, she felt the intensity of both emotional and mental state required to make Scelsi’s work come to life was only achieved when she was 82. In 2005, towards the end of a performance of the entire cycle held in Berlin, she indeed found herself in a state of unconsciousness. Only then she considered ‘Canti del Capricorno’ finally completed.

C611/49 Scelsi No. 2

This is an extract from Michiko Hirayama’s performance of ‘Canti del Capricorno’, No. 2 performed at the ICA on 8 February 1981.

Follow @BLSoundHeritage for all the latest news from the project.

03 February 2020

Recording of the week: 'If Not, Not'

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This week’s selection comes from Andrea Zarza Canova, Curator of World & Traditional Music.

Tapestry in entrance hall of British Library- If Not, Not

You may be familiar with the tapestry featured in this photograph if you visit the British Library every now and then. If its bright colours and mysterious symbolism haven't lured you in before, it’s a tapestry based on the painting If Not, Not (1975—1976), by the artist Ronald Brooks Kitaj RA (1932 – 2007), which hangs in the National Gallery of Modern Art in Edinburgh. For me it has been a source of wonder and stimulus on countless wanders through the Library’s public areas, leaving me with many questions on what the man with the hearing aid in the lower left hand corner, the large, brick gatehouse in the upper left corner or the general atmosphere, which is both attractive and ghastly, might mean. It has felt like an endless source of ideas and stories when procrastinating away from my desk and it's led me to dig deeper and uncover more about R.B. Kitaj's life and remarkable work.

The tapestry rendition of If Not, Not was commissioned for the British Library by its architects MJ Long and Colin St. John Wilson, who were good friends of Kitaj’s. Kitaj painted their portrait The Architects, in August 1979, to celebrate the remodelling of his home by MJ Long. A book called Kitaj: The Architects, gathers diary entries and fragments of conversation from their sitting sessions.

The tapestry was woven on a bespoke loom at the Dovecot Tapestry Studio by the Edinburgh Weavers Company, it required 112 kilos of wool and 7000 hours to complete. Seven master weavers worked on different areas of the tapestry to create this impressive rendition measuring approximately 7 square metres. It was the largest tapestry to be woven in Britain in the 20th century. It was funded by the Arts Council of England Lottery Fund and others.

For Colin St. John Wilson, works of art were an integral part of the building’s design and not mere decoration: 'Tapestries and sculpture are absolutely part of the building, not afterthoughts or adornments to prettify it' (Independent). When the tapestry went on display in July 1997 (its original spot was on the opposite wall where the large exhibition poster currently hangs), its textural qualities not only contributed to the character of the space, serving as a contrast to the hard surfaces throughout the area, but also benefitted the space acoustically by absorbing the sound echoing and reflecting throughout the entrance hall.

In the following excerpt from a much longer interview, which is part of the National Life Story Collection: Architects' Lives, we can hear Colin St. John Wilson speak about some of the references woven into the tapestry's complex network of symbols. He also talks more broadly about the importance of visual imagery in public buildings and how the Library's readers might relate to the works on display.

Colin St. John Wilson on tapestry

This tapestry will be one of the many artworks featured in a series of site-specific tours which explore the Library’s public art collections through sound. Following David Toop's idea, as fleshed out in his book Sinister Resonance (2010), that it is possible to imagine a sound world within ‘mute things’, the tour guides have used sound recordings from the British Library Sound Archive to draw out or expand the stories within works by artists such as Barbara Hepworth, R.B. Kitaj, Eduardo Paolozzi or Antony Gormley. You can find more information on how to book yourself on to a tour on the British Library’s event page.

Follow @BL_WorldTrad and @soundarchive for all the latest news.

02 May 2018

Oral History and the Library of Ideas

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Oral History was one of the British Library's show-and-tells at the Library of Ideas, an afternoon event on 22 April aimed at students and artists interested in using the Library's collections in creative ways. All over the library stalls sprung up, covered in interesting-looking stuff. I felt a bit under-dressed to be honest. All we had on the Oral History stall was a little speaker. But I dimmed the lights and laid out some seats around the room. You listen differently when your eyes, and body, are relaxed.

Undercurrent poster

When many people think about history, they think about books and documents. And there were a lot of them on show. But history is all around us, in our own families and communities, in the living memories and experiences of people. Everyone has a story to tell about their life which is unique to them.

The first clip I played was Alfred Crundwell (C1398/022: copyright the Estate of Alfred Crundwell; used under review exemption). He's one of my favourites. He was born in Shoreditch in 1849. Alfred was 51 years old when Queen Victoria died. He was 102 years old in 1952 when he was interviewed by the woman from the BBC Home Service about Tunbridge Wells...

Alfred Crundwell on Tunbridge Wells

Alfred clearly doesn't feel comfortable being interviewed. He seems to have problems hearing the interviewer's leading questions. He isn't given any time to answer. This is an example of a terrible interview. Imagine the things Alfred could have related to us about the technological changes he had seen his lifetime and what it was like to outlive his four siblings by over 60 years. The amount of social change this man had lived through is staggering. Yet nothing useful came out of it – apart from a really good teaching tool on how not to interview. Alfred had so much more to give.

My colleague Shirley Read has been interviewing photographers for almost twenty years for the Oral History of British Photography collection. One of Shirley's more recent interviewees was the Turner Prize-winning photographer Wolfgang Tillmans (C459/220: copyright Wolfgang Tillmans; used by kind permission of Wolfgang Tillmans). In this clip, Shirley asks a huge question: why was young Wolfgang taken with the photographic image?

Wolfgang Tillmans on why photography and what it means to be alive

It is so difficult, as an interviewer, to bite your tongue at such moments. The pause is a really long one at around 30 seconds, but it feels even longer because of the weight of the silence. I can almost feel Shirley's discomfort – her job is silent but it involves an awful lot of non-verbal communication and empathetic eye contact. Shirley gives Tillmans the time and emotional space required to allow him properly to consider his answer. The oral history interview they are creating together means a lot to both of them – it's an example of shared authority, of performance even – and as a result it is a tremendously valuable historical document. The full-length interview is available in the Library Reading Rooms.

Livia Gollancz (C468/03) was a professional musician – she played French horn in the Hallé Orchestra. She died at the age of 97 in March this year. Dental problems forced her to curtail her musical career abruptly in 1953. She then spent 36 years working in her father Victor Gollancz's publishing firm, running it successfully for 17 years in an overwhelmingly male industry...

Livia Gollancz on Emmeline Pankhurst

In this clip Livia is still at the stage of her life story of talking about her childhood. Notice the introduction - 'I can't remember many details...' - and the pregnant pause after it which interviewer Louise Brodie allows. What follows is a story about Livia's grandmother, the suffragette Henrietta Lowy, who resembled Emmeline Pankhurst. The two women would swap clothes after suffrage meetings and Henrietta would go out of the public entrance, so that Emmeline could evade arrest by leaving in disguise via the back way. You might recognise a similar scene from the 2015 film Suffragette. The full interview is online.

Alexa Reid (C963/47) was interviewed for the Lives in Oil project. In this clip she remembers what it was like to be the only woman working her cleaning shift on the Merchiston oil platform...

Alexa Reid on the Merchiston Platform

When National Life Stories attempts to document an industry in an oral history project, we try to capture the life stories of all aspects of the field. The stories of oil rig support workers are every bit as important as those of the roustabouts, the drillers, the engineers and the executives. Only that way can we capture what an industry was like to live through. You can listen to Alexa's interview at the Library.

What does the word ‘workhouse’ make you think of? Victorian poverty? Poor law textbooks? This clip, from an oral history held at Manchester Central Library, is a woman being interviewed by Paul Graney in 1960 about the six months she spent in Salford Workhouse in 1920.

The woman remains anonymous because her son or daughter may still be alive. That baby would be 98 years old, and could for all I know be sitting in a Prestwich care home listening to this clip right now. The woman reads a poem she wrote in the workhouse to cope with her experience of being pregnant there, and then breaks down. It is a difficult listen. A lot of oral history is emotionally difficult, or repetitive, or boring, or annoying. Basically it’s human.

Other kinds of history – the ones people think of when they think of a library – are generally the results of already decided courses of action. A committee makes its decision, a photographer snaps his moment, even a private diarist frames her day for her very personal audience of one. Whereas oral history is simply one human being talking to another. With all the randomness and kindness and stubbornness that entails.

Oral history proves that history doesn't just mean words on a page. Our often contradictory interviews prompt creative responses as much to the emotion and personality revealed in the voices as to the historical details they document. They are the ultimate primary, unmediated, source. And people have used them in a variety of creative ways: theatre productions, films, creative writing of all kinds, sound art and many other things in between.

If you are interested in using oral history as a source for your creative work, the best place to start is our collection guides. You'll find lots of links there to our catalogue – this is searchable by name, occupation, place or date of birth. Most interviews have text summaries – these can be word-searched to pick up references to places, people or topics. Over 3,000 are available online at British Library Sounds; the rest you can make an appointment to listen to at the Library.

Drop us a line at nls@bl.uk if you have any questions, and before you re-use any of our oral history collections. We'll need to check on rights and permissions to make sure that you can re-use the material in the way you want to. There may be licensing and supply fees involved, but we are keen to help you use our collections.

12 October 2017

LISTEN: 140 Years of Recorded Sound

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Listen: 140 Years of Recorded Sound is the Library's new free exhibition in the Entrance Hall Gallery until 13 May 2018.

This exhibition also inaugurates the Library’s Season of Sound which, includes happy hour listening sessions, a series of talks and late-night shows.

What would you find?

  Gallery_blog

100 Sounds

In the exhibition space we present 100 sounds from the archive, amounting to nearly seven hours of playing time, dating from 1889 to 2017 and covering music, drama, oral history, wildlife, environmental sounds, accents and dialects, and radio.

Many of the selections are rare and unpublished and they can be accessed from any of the exhibition’s listening pods, which have been designed for a secluded and prolonged listening experience.

Hand-out_blog

 Some of my favourites…

  • Radio drama: a musical excerpt from an off-air recording of a radio play by Caryl Brahms and Ned Sherrin - The People in the Park made in 1963. This is an example of a radio drama which was not saved by the BBC and which the British Library has preserved from an off-air recording. The chosen musical excerpt is representative of the humour and the strong feminist message of the piece.
  • Nusrat Fateh Ali Khan live at WOMAD recorded by the British Library in 1985. The Library has 2500 hours of recordings made at the WOMAD Festival by a team of volunteer staff from 1985 till the present.
  • Brendan Behan singing ‘The Old Triangle’ in 1954 from his play The Quare Fellow. This is a private recording donated by the Theatre Royal in Stratford East.
  • An excerpt from an oral history interview with chef Cyrus Todiwala, interviewed by Niamh Dillon in 2008, recalling his reaction to first encountering Indian restaurant menus when he arrived in the UK from India in the 1990s.
  • A wildlife recording of a Turkish soundscape at dusk made by biologist and field recordist Eloisa Matheu in 2010.
  • Hugh Davies performing his composition ‘Salad’ on a variety of egg and tomato slicers in 1978.

Also… the voice of Florence Nightingale; James Joyce reading from Ulysses; the voice of Brahms; Maya Angelou live in Lewisham; the earliest recording of British vernacular speech; bird mimicry; whale songs; …

‘Mystery tracks’

To put you in the zone we have installed five ‘mystery tracks’ at the very front of the exhibition space. If you are curious to know the ‘when’, ‘where’ and the ‘who’ of the mystery tracks, the details are revealed in a hand-out available elsewhere in the space.

Mystery tracks 1blog 

Timeline

For reference there is a timeline listing key developments in the history of recorded sound (including radio), and illustrating how the effect of recordings and recording technologies has changed our relationship to sound over the years.

Listen timeline_blog

Artefacts

The British Library has a collection of rarely seen audio players and other artefacts. For this exhibition we have taken a few out of storage. Players include an Edison home phonograph from 1900 and a Nagra SN miniature tape recorder from 1970. The artefacts include a colourful selection of picture discs and the original nickel-plated stamper used to press a disc version of Tennyson reciting 'The Charge of the Light Brigade' in 1890.

Listen to Tennyson reciting 'The Charge of the Light Brigade'

Edison Diamond Disc phonograph_blogEdison Diamond Disc phonograph (c.1919)

Boy Wireless

To illustrate how archival sounds can inspire new works in the 21st century, composer and sound artist Aleks Kolkowski has created a unique sound installation.

Boy Wireless was inspired by a diary kept by a sixteen-year old radio enthusiast, Alfred Taylor, writing in 1922-23, at the dawn of broadcast radio. The original diary is also on display in the space.

BoyWireless_B Boy Wireless sound installation by Aleks Kolkowski

Aleks Kolkowski_blogAleks Kolkowski at the British Library cutting souvenir voice recordings on the exhibition’s opening night.

Save Our Sounds

The Library’s sound archive is one of the biggest on the planet. It contains six and half million audio recordings from all over the world in over forty different formats. The preservation of recorded sound is at the heart of our work. In 2016 the Library launched the Save Our Sounds Programme to digitise the most vulnerable items in our collection and in other collections across the UK. Donations to support the programme are welcome.

Follow @BL_DramaSound and @soundarchive for more news.

27 September 2017

Don't let work kill the housewife, let electricity do it for you!

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As autumn turns to the dark and cold of winter, many of us will be turning on the lights earlier and switching on the central heating without giving it a second thought. It's easy to forget that it's only been a few decades since household electricity supplies became universal in Britain. In 1935 about 30% of British homes didn't have electricity at all.

Electric cooker 1Southern Electricity Service advert from the Wiltshire Times, 1953 (British Newspaper Archive)

Even in homes that did have power, there were comparatively few electrical appliances, and electricity was often used alongside candles, gas lighting and coal fires. In the 1940 and 1950s the newly nationalised electricity industry made a huge effort to build up Britain's electrical system, building dozens of power stations and encouraging people to use more electricity in their workplaces and homes.

Alan Plumpton - Electric as a way of life

A big effort was made to convince housewives that electrical appliances would bring them cleaner and more convenient lives, but electricity was new and people needed to be shown how to use it. Back in the 1950s electricity board commercial engineer Alan Plumpton (C1495/10) found himself selling electrical appliances to people who had never had them before. As he remembers in this interview clip, electricity may have been modern, but people still needed a bit of convincing to let it into their homes, with the sales pitch of "don't let work kill the housewife, let electricity do it for you!"

If you want to know more about the history of electricity supply, why not come along to The Life Electric: Oral Histories from the UK Electricity Supply Industry at the British Library on the 19th of October 2017.

Blog by Tom Lean, Project Interviewer for An Oral History of the Electricity Supply Industry

23 February 2017

Behind the candy-striped jackets – oral history uncovers the unspoken

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David Kynaston is perhaps best-known for his prize-winning studies of Britain in the later twentieth century, most tellingly his Tales of a New Jerusalem series, including Austerity Britain, Family Britain, and Modernity Britain.  We can now hear David Kynaston reflect upon how he weaves personal memories through his studies of this dramatic period, as he gives the National Life Stories Lecture, ‘Uncovering the unspoken: memory and post-war Britain’, to be held in the Knowledge Centre at the British Library on 13 March 2017.

Austerity Britain book cover

Austerity Britain by David Kynaston

To inform the themes of his lecture Kynaston welcomed four eminent guests to the purpose-built recording studio in the Library: Clare Short (former British politician), David Warren (former British diplomat), Anne Sebba (writer, presenter and lecturer) and Sarah Dunant (novelist, journalist, broadcaster and critic). This wide-ranging and lengthy discussion – which will also be archived and made available at the British Library – covered the speakers’ reflections on some key themes including class, sexuality, education, gender, the influence of family background and the mechanics of how we remember.  If, like me, you are intrigued to know how Kynaston will intertwine these themes with his wider reflections on post-war Britain then book a ticket to attend the lecture.  Tickets are available via the British Library Box Office.

Of course, Kynaston is no stranger to oral history. National Life Stories is the oral history fieldwork charity based in the British Library Sound Archive that has been collecting and commissioning oral history interviews for the last thirty years.  David Kynaston deposited the interviews from two of his key works on the City of London, which are available for anyone to listen via the Listening and Viewing Service at the Library; one on the City investment group, Phillips & Drew (now incorporated into UBS Global Asset Management) and the second on LIFFE.  The Kynaston London International Financial Futures & Options Exchange (LIFFE) Interviews is a series of over 65 recordings with employees and former employees of LIFFE conducted in 1996 as part of the research for his book LIFFE: A Market and its Makers (Granta, 1997).

  Floor traders cropped
Floor traders © Power Stock Photo Library

When Kynaston conducted his interviews in 1996 LIFFE was at its zenith, as one of the largest futures, commodities and equity exchanges in Europe. The exchange floor was a hive of activity, noise and colour where each trader - kitted in a distinctive coloured blazer - would use a mix of hand-signals and shouts from ‘the pit’ to conduct the exchanges.  In this clip from the City Lives project, we hear about the events at the opening of LIFFE in 1982 and then a description how the exchange functioned in the mid 1990s. The first speaker is David Burton, Chairman 1988-1992 (this recording is from 1993), and the second is his successor Nick Durlacher (interviewed in 1995).

Burton & Durlacher (LIFFE)

David Burton interviewed by Cathy Courtney, 1992-1994, and Nicholas Durlacher interviewed by Cathy Courtney 1995. Both of these interviews from City Lives are available to listen online, British Library Sound Archive refs C409/077 and C409/127.

Within only four years of these interviews LIFFE changed beyond recognition. The last open outcry trading pits were closed in 2000 as trading shifted to electronic platforms.  Gone were the coloured jackets, the shouts and the practical jokes of the brokers.  Both City Lives and the Kynaston London International Financial Futures & Options Exchange (LIFFE) Interviews capture personal descriptions of these moments in the life of the City of London from the perspectives of those who worked there and experienced the intense life on the trading floor.

If you are not able to attend the lecture, we plan to film the event and make it available online. More news will follow on this in later March.

Mary Stewart, Curator of Oral History

13 December 2016

Artists’ Lives Exhibition at Tate Britain

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From now until Autumn 2017, selected audio recordings from National Life Stories’ Artists’ Lives project (C466) will be on display at Tate Britain, London, as part of the free exhibition, ARTISTS’ LIVES: SPEAKING OF THE KASMIN GALLERY.

  172 kasmin on phone 118Kasmin in his gallery at 118 New Bond Street, c.1966. Photograph courtesy Kasmin.

Celebrating the history of the Kasmin Gallery, a Mayfair gallery that played a key role in the art scene of 1960s London, the exhibition brings together artwork originally shown in the gallery (subsequently acquired by Tate), including the works of Jules Olitski (1922-2007) and Robyn Denny (1930-2014), together with related audio extracts from Artists’ Lives (available via touch-screens in the exhibition’s seating area) that allow visitors to explore the history of the Kasmin Gallery and developing art market through the voices of those directly involved, including artists, curators and Kasmin himself.

To mark the launch of the exhibition, a conversation event was held at Tate Britain on Friday 9 December 2016, which saw gallerist Kasmin, Nicholas Serota, Director of Tate, and biographer and cultural historian Fiona MacCarthy reflect on their own personal experiences of life story interviews, as well as the content of the exhibition itself. A one-day conference entitled The Voice of the Artist was also held at the Courtauld Institute of Art on Saturday 10 December 2016, which brought together artists, curators, art historians and oral history experts to explore the importance, relevance and complications of life story interviews in the context of art studies and art education. Novelist William Boyd gave the conference’s keynote lecture, which discussed his 1998 fictitious biography Nat Tate: An American Artist 1928–1960 and the centrality and importance of life stories in his work.

 

74390004Kamsin gallery exteriorKasmin outside the Kasmin Gallery on New Bond Street, 1960s. Photograph courtesy Kasmin.

Over 200 Artists’ Lives life story recordings are now freely available on BL Sounds, the British Library’s online sound resource. To explore Artists’ Lives interviews not online please search the British Library’s Sound and Moving Image catalogue.

Artists’ Lives is run by National Life Stories at the British Library in association with Tate. The Henry Moore Foundation, The Henry Moore Institute and the Yale Center for British Art have supported the project since its inception in 1990. National Life Stories is grateful to all its sponsors in relation to the exhibition ARTISTS’ LIVES: SPEAKING OF THE KASMIN GALLERY, particularly the Gubenkian Foundation UK and the Rootstein Hopkins Foundation.

Dr Cai Parry-Jones

Curator, Oral History