116 episodes

EMPIRE LINES uncovers the unexpected, often two-way, flows of empires through art.

Interdisciplinary thinkers use individual artworks as artefacts of imperial exchange, revealing the how and why of the monolith ‘empire’.

Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast

And Twitter: twitter.com/jelsofron/status/1306563558063271936

Support EMPIRE LINES on Patreon: patreon.com/empirelines

TRANSCRIPTS: drive.google.com/drive/folders/1-pwfn4U_P1o2oT2Zfb7CoCWadZ3-pO4C?usp=sharing

MUSIC: Combinación // The Dubbstyle

PRODUCER: Jelena Sofronijevic

EMPIRE LINES EMPIRE LINES

    • Society & Culture
    • 5.0 • 6 Ratings

EMPIRE LINES uncovers the unexpected, often two-way, flows of empires through art.

Interdisciplinary thinkers use individual artworks as artefacts of imperial exchange, revealing the how and why of the monolith ‘empire’.

Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast

And Twitter: twitter.com/jelsofron/status/1306563558063271936

Support EMPIRE LINES on Patreon: patreon.com/empirelines

TRANSCRIPTS: drive.google.com/drive/folders/1-pwfn4U_P1o2oT2Zfb7CoCWadZ3-pO4C?usp=sharing

MUSIC: Combinación // The Dubbstyle

PRODUCER: Jelena Sofronijevic

    Giolo’s Lament, Pio Abad (2023) (EMPIRE LINES x Ashmolean Museum)

    Giolo’s Lament, Pio Abad (2023) (EMPIRE LINES x Ashmolean Museum)

    Artist and archivist Pio Abad draws out lines between Oxford, the Americas, and the Philippines, making personal connections with historic collections, and reconstructing networks of trafficking, tattooing, and 20th century dictatorships.

    Pio Abad’s practice is deeply informed by world histories, with a particular focus on the Philippines. Here, he was born and raised in a family of activists, at a time of conflict and corruption under the conjugal dictatorship of Ferdinand and Imelda Marcos (1965-1986). His detailed reconstructions of their collection - acquired under the pseudonyms of Jane Ryan and William Saunders - expose Western/Europe complicities in Asian colonial histories, from Credit Suisse to the American Republican Party, and critique how many museums collect, display, and interpret the objects they hold today.

    In his first UK exhibition in a decade, titled for Mark Twain’s anti-imperial satire, ‘To the Person Sitting in Darkness’ (1901), Pio connects both local and global histories. With works across drawing, text, and sculpture, produced in collaboration with his partner, Frances Wadworth Jones, he reengages objects found at the University of Oxford, the Pitt Rivers Museum, St John’s College, and Blenheim Palace - with histories often marginalised, ignored, or forgotten. He shares why his works often focus on the body, and how two tiaras, here reproduced in bronze, connect the Romanovs of the Russian Empire, to the Royal Family in the UK, all via Christie’s auction house.

    Pio shares why he often shows alongside other artists, like Carlos Villa, and the political practice of Pacita Abad, a textile artist and his aunt. He talks about the ‘diasporic’ objects in this display, his interest in jewellery, and use of media from bronze, to ‘monumental’ marble. Finally, Pio suggests how objects are not things, but travelling ‘networks of relationships’, challenging binaries of East and West, and historic and contemporary experiences, and locating himself within the archives.

    Ashmolean NOW: Pio Abad: To Those Sitting in Darkness runs at the Ashmolean Museum in Oxford until 8 September 2024, accompanied by a full exhibition catalogue.

    Fear of Freedom Makes Us See Ghosts, Pio’s forthcoming exhibition book, is co-published by Ateneo Art Gallery and Hato Press, and available online from the end of May 2025.



    WITH: Pio Abad, London-based artist, concerned with the personal and political entanglements of objects. His wide-ranging body of work, encompassing drawing, painting, textiles, installation and text, mines alternative or repressed historical events and offers counternarratives that draw out threads of complicity between incidents, ideologies and people. He is also the curator of the estate of his aunt, the Filipino American artist Pacita Abad.
    PRODUCER: Jelena Sofronijevic.



    Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠

    And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠

    Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

    • 18 min
    Camera Obscura, Pia Arke (1990) (EMPIRE LINES x John Hansard Gallery, KW Institute for Contemporary Art)

    Camera Obscura, Pia Arke (1990) (EMPIRE LINES x John Hansard Gallery, KW Institute for Contemporary Art)

    Curators Ros Carter and Sofie Krogh Christensen chart Pia Arke’s photo-activism across the Arctic region, from a pinhole view to wider perspectives on Indigenous and Inuit experiences in the 20th century.

    Though scarcely exhibited outside Scandinavia, Pia Arke (1958–2007) is widely acknowledged as one of the region’s most important artistic researchers, ‘photo-activists’, and postcolonial critics. Born in Scoresbysund, Kalaallit Nunaat (Greenland) to a Greenlandic mother and a Danish father, Arke asserted an identity that was defined as neither exclusively Danish or Greenlandic; a ‘third place’ that allowed for hybridity and resisted binary categories or polarisation. Through performance art, writing and photography, she examines the complex ethnic and cultural relationships between Denmark and Greenland, using long exposure to highlight continuities over time. Modern Danish colonial rule started in the 18th century, and Greenland wouldn’t became a fully autonomous state until the 1970s. Still dependent on grants, much of Greenland’s economic and foreign policy remains under Danish control.

    In 1990, the artist developed her own hand-built, life-size camera obscura to photograph the landscapes of Greenland that she had known as a child. Reconstructed today at John Hansard Gallery in Southampton, and KW Institute in Berlin, the curators share how Arke was drawn to the ‘in-between’ media of photography, like herself, a ‘mongrel’ which challenged artistic conventions. Arke’s self and group portraits, reappropriated photographs, and archive collages also mark stark interventions, reinserting Indigenous and Inuit people and women into Nordic narratives, challenging the artist’s exclusion from conceptual art circles, and stereotypes of ‘naive’ and folk painting.

    Arke died before she could experience the growing interest in her work; its continued relevance to questions of representation, climate crises, and the impact of global economics on Indigenous communities throughout the arctic regions, is evident in the work of other artists on display, and contemporaries like Jessie Kleemann, Anna Birthe-Hove, and Julie Edel Hardenberg. We discuss Arke’s experience of art education in Copenhagen, and the ongoing efforts by the likes of the Nuuk Art Museum to find a language for Inuit art histories. Plus, we consider shared histories between Greenland, Denmark, and the UK - including the British explorer who gave his name to Scoresbysund.

    Pia Arke: Silences and Stories runs at the John Hansard Gallery in Southampton until 11 May 2024. The partner exhibition, Pia Arke: Arctic Hysteria, runs at KW Institute for Contemporary Art in Berlin from 6 July 2024.

    A new publication on Pia Arke’s work, co-published by John Hansard Gallery and KW Institute, will be available in late April 2024. Symposiums will take place in both Southampton and Berlin too.



    Recommended Exhibitions:


    Outi Pieski runs at Tate St Ives in Cornwall until 6 May 2024.
    Michelle Williams Gamaker: The Silver Wave runs at the Royal Albert Memorial Museum (RAMM) in Exeter until 27 October 2024.
    Shuvinai Ashoona: When I Draw runs at The Perimeter in London until 26 April 2024.



    For more about Godland, Hlynur Pálmason (2023), read my article from the BFI London Film Festival (LFF) 2022.



    On Sonia Ferlov Mancoba, hear Cobra Museum curators Winnie Sze and Pim Arts on We Kiss the Earth: Danish Modern Art, 1934-1948.


    On long exposures, hear photographer Hélène Amouzou and curator Bindi Vora on Voyages (2023).


    WITH: Ros Carter, Head of Programme (Senior Curator) at John Hansard Gallery in Southampton. Sofie Krogh Christensen, Associate Curator at KW Institute for Contemporary Art in Berlin. They are the respective curators of Silences and Stories and Arctic Hysteria.

    PRODUCER: Jelena Sofronijevic.



    Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠

    And Twitter: ⁠twitter.com/jelsofron/status/1

    • 19 min
    Medium and Memory, Griselda Pollock (2023) (EMPIRE LINES x HackelBury Fine Art)

    Medium and Memory, Griselda Pollock (2023) (EMPIRE LINES x HackelBury Fine Art)

    Art historian and Professor Griselda Pollock traces the memories of contemporary artist women like Sutapa Biswas, one of her students in the 1980s, and the entanglements in feminist, queer, and postcolonial thinking in art schools and universities.

    Griselda Pollock has long advocated for the critical function of contemporary art - and artists - in society. Whether paintings, drawings, or sculptures, these media can translate the traumatic legacies of colonialism, imperialism, and migration into visual form, and serve as refusals to forget - especially in our memory-effacing digital age.



    Born in apartheid South Africa, Griselda has lectured in global contexts; at the University of Leeds in the 1980s, she encountered Sutapa Biswas, a ‘force of nature’ and one of the institution’s first POC art students. She shares her experience of the two-way flows of teaching and learning. Drawing on stills from the artist’s new film work Lumen (2021), and historic ‘Housewives with Steak-Knives’ (1984-1985), she highlights both Bengali Indian imagery, and motifs of 17th and 18th century Old/Dutch Masters like Vermeer and Rembrandt - and why the artist ‘didn’t need Artemisia Gentileschi’ when she had the Hindu goddess Kali.

    Engaging with leaders of the Blk Art Group like Lubaina Himid, Sonia Boyce, and Claudette Johnson, we find connections with the first generation of British artists, born in the UK of migrant parents. Griselda also shares the important work of art historians and academics beyond Western/Europe, like Homi K. Bhabha, Gayatri Chakravorty Spivak, Chandra Mohanty, Catherine de Zegher, and Hiroko Hagewara. We discuss how being open to challenge and conversation, unsettling your own assumptions, denormalising and widening visibility are all ongoing obligations. Still, with Coral Woodbury’s paintings, layered atop H.W. Jansen’s History of Art (1968), we see how little the education system has changed. Griselda concludes with thoughts on Vincent van Gogh, Paul Gauguin, and challenging the norms of modernist colonial tourism within the confines of free speech and market demand.

    Medium and Memory, curated by Griselda Pollock, ran at HackelBury Fine Art in London until 18 November 2023. An expanded exhibition of Coral Woodbury’s Revised Edition runs until 4 May 2024.

    Griselda Pollock on Gauguin is published by Thames & Hudson, and available from 28 May 2024.



    For more from Lubaina Himid, hear the artist on their work Lost Threads (2021, 2023), at the Holburne Museum in Bath: pod.link/1533637675/episode/4322d5fba61b6aed319a973f70d237b0



    And read about their recent exhibition at Tate Modern, and work with the Royal Academy (RA) in London, in gowithYamo: gowithyamo.com/blog/the-revolutionary-act-of-walking-in-the-city



    For more about The Thin Black Line exhibition at the Institute of Contemporary Arts (ICA) in London (1985), hear curator Dorothy Price on Claudette Johnson’s And I Have My Own Business in This Skin (1982) at the Courtauld Gallery in London: pod.link/1533637675/episode/707a0e05d3130f658c3473f2fdb559fc



    For more about the artist Gego, who practiced in Germany and South America, read my article about Measuring Infinity at the Guggenheim Bilbao (2023), in gowithYamo: gowithyamo.com/blog/infinite-viewpoints-gego-at-the-guggenheim-bilbao



    WITH: Griselda Pollock, Professor of Social and Critical Histories of Art and Director of CentreCATH (Centre for Cultural Analysis, Theory & History) at the University of Leeds.
    WITH: Griselda Pollock, Professor of Social and Critical Histories of Art and Director of CentreCATH (Centre for Cultural Analysis, Theory & History) at the University of Leeds. She won the Holberg Prize in 2020 for her contributions to feminism in art history and cultural studies, books, and exhibitions. She is the curator of Medium and Memory.

    ART: ‘Lumen, Sutapa Biswas (2017) and Lubaina Himid, from the Revised Edition series, Coral Woodbury (2023)’.

    PRODUCER: Jelena

    • 21 min
    Lost Threads, Lubaina Himid (2021, 2023) (EMPIRE LINES x Holburne Museum, British Textile Biennale)

    Lost Threads, Lubaina Himid (2021, 2023) (EMPIRE LINES x Holburne Museum, British Textile Biennale)

    Artist and curator Lubaina Himid unravels entangled histories of transatlantic slavery and textile production, across continents, and Britain’s museum collections, via Lost Threads (2021, 2023).

    Lubaina Himid considers herself ‘fundamentally a painter’, but textiles have long been part of her life and practice. Had she stayed in Zanzibar, the country of her birth in East Africa, she may have become a kanga designer, following a pattern set by her mother’s interest in fashion, and childhood spent around department stores in London. First commissioned by the British Textile Biennial in 2021, and installed in Gawthorpe Hall’s Great Barn, her 400m-long work Lost Threads’ flows in a manner reflective of the movement of the oceans, seas, and waterways which historically carried raw cotton, spun yarn, and woven textiles between continents, as well as enslaved people from Africa to pick raw cotton in the southern states of America, and workers who migrated from South Asia to operate looms in East Lancashire. Now on display in Bath, the rich Dutch wax fabrics resonate with the portraits on display in the Holburne Museum’s collection of 17th and 18th century paintings - symbols of how much of the wealth and prosperity of south-west England has been derived from plantations in the West Indies.

    Lubaina talks about how the meaning of her work changes as it travels to different contexts, with works interpreted with respect to Indian Ocean histories in the port city of Sharjah, to accessible, participatory works in Cardiff, and across Wales. We consider her ‘creative interventions’ in object museums and historic collections, ‘obliterating the beauty’ of domestic items like ceramics, and her work with risk-taking curators in ‘regional’ and ‘non-conventional’ exhibition spaces. We discuss her formative work within the Blk Art group in the 1980s, collaboration with other women, and being the first Black artist to win the Turner Prize in 2017. And drawing on her interests in theatre, Lubaina hints at other collections and seemingly ‘resolved’ histories that she’d like to unsettle next.

    Lubaina Himid: Lost Threads runs at the Holburne Museum in Bath until 21 April 2024.



    For more about Dutch wax fabric and ‘African’ textiles, hear the British Museum's Dr. Chris Spring on Thabo, Thabiso and Blackx, Araminta de Clermont (2010).



    For more about Claudette Johnson, hear curator Dorothy Price on And I Have My Own Business in This Skin (1982) at the Courtauld Gallery in London.



    Hear artist Ingrid Pollard on Carbon Slowly Turning (2022) at the Turner Contemporary in Margate.



    Hear curator Griselda Pollock from Medium and Memory (2023) at HackelBury Fine Art in London.


    And for more about the wealth of colonial, Caribbean sugar plantations which founded the Holburne Museum, hear Dr. Lou Roper on ⁠Philip Lea and John Seller’s A New Map of the Island of Barbados (1686)⁠, an object in its collection.



    Recommended reading:

    On Lubaina Himid: gowithyamo.com/blog/the-revolutionary-act-of-walking-in-the-city

    On Maud Sulter: gowithyamo.com/blog/reclaiming-visual-culture-black-venus-at-somerset-house

    On Sonia Boyce: gowithyamo.com/blog/feeling-her-way-sonia-boyces-noisy-exhibition

    On Life Between Islands at Tate Britain: artmag.co.uk/the-caribbean-condensed-life-between-islands-at-the-tate-britain



    WITH: Lubaina Himid, British artist and curator, and professor of contemporary art at the University of Central Lancashire. Himid was one of the first artists involved in the UK's Black Art movement in the 1980s, and appointed MBE and later CBE for services to Black Women's/Art. She won the Turner Prize in 2017, and continues to produce work globally.

    ART: ‘Lost Threads, Lubaina Himid (2021, 2023)’.

    SOUNDS: Super Slow Way, British Textile Biennial (2021).

    PRODUCER: Jelena Sofronijevic.


    Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast

    And Twitter: twitter.com/jelsofron/status

    • 15 min
    The Black Atlantic, Paul Gilroy (1993-Now) (EMPIRE LINES Live, with Radical Ecology)

    The Black Atlantic, Paul Gilroy (1993-Now) (EMPIRE LINES Live, with Radical Ecology)

    Decolonial thinker Professor Paul Gilroy joins EMPIRE LINES live in Plymouth, to chart thirty years since the publication of The Black Atlantic, his influential book about race, nationalism, and the formation of a transoceanic, diasporic culture, of African, American, British, and Caribbean heritages.

    Published in 1993, Paul Gilroy’s The Black Atlantic: Modernity and Double Consciousness explores the interconnectedness of Black diasporas and communities across Western/Europe. He argues that the experience of slavery and colonisation, racism and global migration has shaped a unique Black cultural identity that transcends national borders.

    By examining the cultural contributions of Black individuals in music, literature, and art, Paul suggests that the Black Atlantic remains a site of resistance and creativity. Highlighting the plural and complex experiences of Black people throughout history and today, he challenges the notion of a singular, essential Black identity. We consider some of the transdisciplinary artist-activist-academics referenced in his texts, including W.E.B. Du Bois, Stuart Hall, and James Baldwin, to more contemporary figures, like Nadia Cattouse, bell hooks, and June Jordan, and Angeline Morrison. Plus, Paul talks about his early interests in music journalism, research into Black jazz and blues music, as well as British folk and country songs - and even Eminem.

    We consider Paul’s engagements with Critical Race Theory (CRT), and Cultural Studies in Birmingham in the Midlands, and how his practice challenges ideas of Black nationalism, Afro-centrism, and political Blackness. We discuss too his ideas about afro-pessimism and planetary humanism, and how capitalism, militarism, and the environment has changed over the last thirty years. A self-described ‘child of Rachel Carson’, he details his support for Extinction Rebellion, and the obligation of older generations to find hope in an era of climate and ecological crises. Finally, Paul describes his ‘Creole upbringing’ in north London, connecting with his Guyanese heritage in the multicultural, cosmopolitan city, and how his mixed parentage shaped his relationship with rural landscapes, including the south-west of England, from where we speak.

    This episode was recorded live at the Black Atlantic Symposium in Plymouth - a series of talks and live performances, celebrating the 30th anniversary of Paul Gilroy’s formative text - in November 2023: eventbrite.co.uk/e/black-atlantic-tickets-750903260867?aff=oddtdtcreator

    For more, listen to Ashish Ghadiali on the exhibition Against Apartheid (2023): pod.link/1533637675/episode/146d4463adf0990219f1bf0480b816d3



    For more about Life Between Islands: Caribbean-British Art 1950s – Now (2021-2022) at Tate Britain in London, read my article for Artmag: artmag.co.uk/the-caribbean-condensed-life-between-islands-at-the-tate-britain/



    For more about Ingrid Pollard, hear the artist on Carbon Slowly Turning (2022) at the Turner Contemporary in Margate: pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4



    For more about the Quiltmakers of Gee’s Bend, listen to Raina Lampkins-Felder, curator at the Souls Grown Deep Foundation and Royal Academy in London: https://pod.link/1533637675/episode/2cab2757a707f76d6b5e85dbe1b62993



    WITH: Professor Paul Gilroy, sociologist, Founding Director of the Sarah Parker Remond Centre for the Study of Racism & Racialisation at University College London (UCL), and Co-Chair of the Black Atlantic Innovation Network (BAIN). He won the Holberg Prize in 2019.

    ART: ‘’The Black Atlantic, Paul Gilroy (1993-Now) (EMPIRE LINES Live in Plymouth, with Radical Ecology)’
    PRODUCER: Jelena Sofronijevic.


    Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast

    And Twitter: twitter.com/jelsofron/status/1306563558063271936

    Support EMPIRE LINES on Patreon: patreon.com/empirelines

    • 48 min
    Noko Y3 Dzen (There’s Something in the World), Serge Attukwei Clottey (2018-Now) (EMPIRE LINES Live at the Eden Project, Cornwall)

    Noko Y3 Dzen (There’s Something in the World), Serge Attukwei Clottey (2018-Now) (EMPIRE LINES Live at the Eden Project, Cornwall)

    Artist Serge Attukwei Clottey joins EMPIRE LINES live at the Eden Project in Cornwall, to discuss Afrogallonism, uplifting communities with upcycled plastic waste, and how the traditional Ghanaian harvest festival of Homowo challenges colonial hierarchies of gender.


    Accra-based artist Serge Attukwei Clottey works across installation, performance, photography, painting, and sculpture, exploring personal and political narratives rooted in histories of trade and migration. He refers to his practice with yellow plastic, Kufuor-era, cooking oil cans as ‘Afrogallonism’, using found and recycled materials to create a dialogue with the city’s cultural history and identity, whilst exploring the meanings that are invested in everyday objects, and how they circulate in local and global economies.

    Referencing Ghana’s historic wealth, a region known as the Gold Coast during British colonial rule during 19th and 20th century, Serge’s installations like Follow the Yellow Brick Road (2015-2020) also serve a practical function, in creating wealth and employment for the local community. On display alongside his existing work at the Eden Project is a new audio piece, a remembrance of famine that once befell pre-colonial Ghana, and is once again impacting farmers as a consequence of climate change.

    Serge talks about his family’s migration from city of Jamestown/Usshertown, in British Accra, to La (Labadi), on the coast, and how water has long infiltrated his practice. We discuss the realities of resource extraction and consumption captured by his work, connecting with the likes of Romauld Hazoumè, El Anatsui, Zina Saro-Wiwa, and Wura-Natasha Ogunji.

    Serge shares his interest in political performance art, and collaborating with young people. We open My Mother’s Wardrobe (2015-2016), in which Serge invited men to wear women’s clothes and make-up to perform everyday and ritual tasks, disrupting conventions of gender and sexuality imposed upon and appropriated by many African countries during colonial rule. And Serge talks about his commissions across the world, from Desert X, to Kew Gardens, and the National Portrait Gallery in London, where his Windrush Portrait of Mr. Laceta Reid proudly stands.

    This episode was recorded live at Reclaim - a weekend of talks and events at the Eden Project in Cornwall, curated to support mental and planetary wellbeing - in January 2024: edenproject.com/visit/whats-on/reclaim

    Acts of Gathering runs at the Eden Project in Cornwall until 14 April 2024. For more, hear curators Misha Curson and Hannah Hooks in the episode on Learning from Artemisia, Uriel Orlow and Orchestre Jeunes Étoiles des Astres (2019-2020): pod.link/1533637675/episode/0e8ab778b4ce1ad24bc15df3fec5a386



    For more about African masks and performance, listen to Osei Bonsu, curator of A World in Common: Contemporary African Photography at Tate Modern in London: pod.link/1533637675/episode/386dbf4fcb2704a632270e0471be8410



    About Ashanti Hare, and the south-west arts ecology, hear curator Ashish Ghadiali on Radical Ecology’s recent exhibition at KARST in Plymouth: pod.link/1533637675/episode/146d4463adf0990219f1bf0480b816d3



    For more ‘African’ textiles, hear Dr. Chris Spring on Thabo, Thabiso and Blackx, Araminta de Clermont (2010): pod.link/1533637675/episode/a32298611ba95c955aba254a4ef996dd



    And on sea/water as a historical archive, listen to these episodes on:

    John Akomfrah’s Arcadia (2023), at The Box in Plymouth: pod.link/1533637675/episode/31cdf80a5d524e4f369140ef3283a6cd

    Julianknxx’s Chorus in Rememory of Flight (2023), at the Barbican in London: pod.link/1533637675/episode/1792f53fa27b8e2ece289b53dd62b2b7



    WITH: Dr. Serge Attukwei Clottey, Accra-based visual artist.

    PRODUCER: Jelena Sofronijevic.



    Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast

    And Twitter: twitter.com/jelsofron/status/1306563558063271936

    Support EMPIRE LINES on Patreon: patreon.com/empirelines

    • 1 hr

Customer Reviews

5.0 out of 5
6 Ratings

6 Ratings

kirklandiyers ,

Very engaging

These episodes are informative and engaging.

ProfReader2021 ,

Excellent resource

As an art history professor, this is a high-quality resource for engaging with the broader histories that surround the objects of art history. 10/10 recommend to all my students and colleagues!

Keggdog ,

Excellent podcast

Consistently fascinating. Empire is both a complicated and far-reaching concept, and approaching it through art and material culture is one of the better ways to understand it. I also appreciate the shorter length: it’s just enough to draw you in and leave you curious, but not so much that you’re overwhelmed if you’re unfamiliar with the subject matter.

Top Podcasts In Society & Culture

MeSsy with Christina Applegate & Jamie-Lynn Sigler
Wishbone Production
Stuff You Should Know
iHeartPodcasts
The Viall Files
Nick Viall
This American Life
This American Life
Unlocking Us with Brené Brown
Vox Media Podcast Network
Shawn Ryan Show
Shawn Ryan | Cumulus Podcast Network

You Might Also Like

The Week in Art
The Art Newspaper
A brush with...
The Art Newspaper
The Art Angle
Artnet News
Dialogues: The David Zwirner Podcast
David Zwirner
Talk Art
Russell Tovey and Robert Diament
The LRB Podcast
The London Review of Books