the Roberts Institute of Art

Osman Yousefzada’s poem, Untitled (for Prem), is written in response to Prem Sahib’s User_01 (2016), a panel of black aluminium covered with drops of resin that look like sweat and moisture, smudged …

Marina Warner’s Pentimento is written in response to Paula Rego’s drawing in pencil and conte, St Mary of Egypt (2011) and tells the story of the little-known saint from fragments of reports of those…

Heather Phillipson’s The Creeps is written in response to Emma Talbot’s How the Web was Woven (2009), an acrylic on canvas work with a variety of vignettes, spider webs, texts and mysterious figures.…

Julie Ezelle Patton’s Three Phases of Eva, 1965 is written in response to Eva Hesse’s Three (1965), a triptych of gouache and oil on paper collage. Patton takes Hesse’s triptych and title to structur…

Imani Mason Jordan’s 1:1 is written in response to Ellen Gallagher’s Untitled (2005). Gallagher’s intimate work shows two silhouetted figures etched onto a gold leaf background. The figures, posed as…

Renee Gladman’s All These Not-Places for Wandering is written in response to Ayan Farah’s Stardust (2011), a work dyed and bleached by UV light and painted with acrylic paint. Gladman approaches the …

In this podcast, we invited Liliane Lijn, whose work is featured in the David and Indrė Roberts Collection to choose a piece from the collection as a starting point for a conversation.

Lilliane is one…

In this podcast, artist Valerie Asiimwe Amani discusses her first live performance To dismantle a house which was jointly commissioned by the Roberts Institute of Art and South London Gallery and pre…

In this podcast series, we ask an artist represented in the David and Indrė Roberts Collection, and who was also part of one of the Evening of Performances, to select a work by another artist represe…

In this podcast series, we ask an artist who performed in one of the Evening of Performances to choose someone to be in conversation about collaboration, their respective practices and the future of …

Grace Schwindt is a German artist working with film, live performance, sculpture, and drawing. As part of Evening of Performances 2018, Grace presented The Boxer. The Boxer proposed the intimate mome…

We invited Phyllida Barlow, whose work is featured in the David and Indrė Roberts Collection, to choose a piece from the collection as the starting point for a conversation about influences and objec…

Arike Oke is currently the Managing Director of the Black Cultural Archives in Brixton, which is known as the leading institutional voice on the Windrush Generation and the home of Black British hist…

Michaela Crimmin is an independent curator and co-director of the not-for profit agency, Culture+Conflict. For over 15 years she taught on the Royal College of Art’s curating contemporary art MA.

Hrai…

Matthew Spellberg is a scholar whose topic of study is the comparative history of dreaming—how dreams are experienced, shared, and made use of in different cultures. Originally trained as an architec…

Gander chose Study of a Coloured Tile Path With Red, Black and White Tiles, 1988 due to seeing a shared interest in time and collecting places in moments. It is a meticulous recreation of a randomly …

Emma Talbot selected What is Love (2013) by Huma Bhabha when asked to pick a work from the David and Indrė Roberts Collection to discuss in relation to her own practice.

Bhabha’s painted sculpture, wh…

Both having keen interests in the animal world, art history and mythology, Caroline Achaintre quickly gravitated to Berlinde De Brucykere when asked to choose a work from the David Roberts Collection…

An artist he has long loved and admired, artist Jonathan Baldock quickly gravitated towards Niki de Saint Phalle when asked to choose a work to discuss  from the David Roberts Collection. Topic of de…

Glasgow-based artist France-Lise McGurn has chosen to talk about Art Deco painter Tamara de Lempicka’s drawing Sur La Plage, made circa 1926. This drawing from the David Roberts Collection becomes th…