Give me a break

• Sadie Coles

  If anyone on the London art scene needs no introduction, it’s probably Sadie Coles. Born in 1963, Sadie studied art history and film at Middlesex University before cutting her teeth in the press office at the National Theatre and Bristol's Arnolfini. She learnt the "value of art" with a training from dealer Anthony d’Offay, and later managed Jeff Koons’ studio in New York – all before opening her eponymous gallery in 1997.Often dubbed the “godmother” of the YBAs (a title she humbly disputes), Sadie played a key role in launching the careers of artists like Sarah Lucas and Angus Fairhurst. Nearly three decades on she remains at the epicentre of the London art world, constantly evolving her programme and championing a dynamic, international roster that includes Martine Syms, Matthew Barney, Jordan Wolfson, Alvaro Barrington, Arthur Jafa, and previous GMAB guest, Monster Chetwynd. In 2021, she was awarded an OBE for services to art. Sadie's community-focused ethos extends to initiatives like The Shop, a recently opened project space with a rolling lineup of guest curators, and ‘Gargle’, her monthly series of live events. Coinciding with Frieze London 2025, she’ll open a brand-new flagship gallery: a 6,000 sq ft Georgian townhouse on Savile Row.In this episode of Give me a break, Harriet and Sadie take it from the top – unpacking the moments, instincts, and relationships that shaped one of the most influential figures in contemporary art. Along the way, they get into the misconceptions, the myths of the art dealer, and how Sadie has learned to bat away the BS.“Culture is important. It’s a response to a need in a society, that’s why the museums are full. That’s why people go to cultural events of all sorts. We need something that is reflecting humanity, that is discussing the difficulties of being a human being in the world today.”

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• Ben Luke

  For the next episode of GMAB, we’re with one of the most insightful and dedicated arts critics around: Ben Luke. If you’re in the art world orbit, you will have heard his voice, you’ve maybe even preordered his new book, possibly begged to go on his podcast. Ben is a contributing editor at The Art Newspaper, and hosts of two of its podcasts, The Week in Art and A Brush With, exploring the cultural experiences and greatest influences of everyone who’s anyone who’s an artist. Ben cut his teeth in the press office of Tate, was Deputy Editor and Features Editor of the late Art World Magazine, and went on to become an art critic at The Evening Standard before joining The Art Newspaper. He’s written essays and catalogues on the likes of Michael Craig‑Martin, Sean Scully, Phyllida Barlow, and is a member of the advisory board for the UK’s Government Art Collection – above all, he's a devout believe that art enthusiasm and criticism can go hand in hand. Now, with over 120 podcast guests under his belt (from Arthur Jafa to Marlene Dumas), he's come to know a thing or two about navigating the art world with curiosity, care, and a healthy amount of scepticism. Ahead of the release of his new book, What is art for? Contemporary artists on their inspirations, influences and disciplines, Harriet picks Ben's brains on 25 years of being an art critic (spoiler: there's joy, self-doubt, pain and tears), shamelessly harvests podcast tips from one of the best in the biz, and turns the tables to ask Ben his own favourite question, with a twist: what are critics for?"One of the things about being a freelancer is just dealing with the knocking down, the pitches where you're desperate to write for somebody and they just aren’t interested.”

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• Monster Chetwynd

  We’re out of the studio this week, and right in the belly of the beast (Tate Modern) for this special episode to track down Monster Chetwynd. Though she was born Alalia Chetwynd in 1973, the Turner Prize-nominated artist is best known by her previous stage names, which have included Spartacus Chetwynd and Marvin Gaye Chetwynd. Monster is celebrated for her wildly imaginative, carnivalesque performances and films, which often feature delightfully chaotic handmade props and puppets that reimagine pieces of cultural history, from the Canterbury Tales to Star Wars. Harriet manages to squeeze some time in with Monster in the midst of installing her Tate Uniqlo Play commission, Thunder, Crackle and Magic, involving creatures, costumes and dragons. They talk art school torture, navigating egos, and living for risk."It's a little bit difficult that you go from a subject that doesn't have any very obvious industry based outcome of employment to another subject that has exactly the same problem."

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• Gary Card

  Gary Card doesn’t really do things by halves. The set designer, artist, illustrator, and unapologetic maximalist was born in Bournemouth in 1981. Growing up, he hated the beach, and instead spent his childhood indoors, drawing monsters, cartoons, and grotesque horror scenes – a love affair that endures today. Despite having never been to the theatre, Gary moved to London to study theatre design at Central Saint Martins. After graduating, his unique blend of chaotic creativity garnered early media attention, and he admits he found success before he’d fully honed his craft. Over a 20-year career working with the biggest names in fashion and pop culture, from Comme des Garçons and Louis Vuitton to Paul McCartney and Lady Gaga, Gary has earned a reputation as a maverick of maximalist set design, and fundamentally, an artist. Ahead of his Plaster Store takeover, where he transformed the entire space into a madman’s studio, Harriet Lloyd-Smith sat down with Gary to take a trip down the rabbit hole. They dive into his obsessive collecting, major mess ups, naughty clients and why brutal honesty is essential. "I think the 'A word' [artist] that came with baggage, analytical baggage for me, and it's hard to even put into words now. I did for a long time, dare not speak its name, because I didn't think I was worthy. And I am an artist. I've been an artist for years, but it took me a long time to actually have the confidence to say it out loud."

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• Gabrielle de la Puente of The White Pube

  When it comes to the spirit of Give me a break, no one channels it quite like The White Pube. Comprising of Gabrielle de la Puente and Zarina Muhammad, the critical duo has been giving us a break from the elitism, nepotism, and dryness of the art world since 2015. Then, while still at university, they launched their collaborative platform, publishing plucky criticism and essays that cemented their reputation as the go-to antidote to stiff-lipped art world BS. They have since organised grants for working-class creatives, published a manifesto for a new art world, which took a hard stand against racism and nepotism and financial inequality for all (not just artists), and last year, launched the acclaimed book, Poor Artists, an experimental autofiction which explores how capitalism has turned art into commodities and creative expression into a gladiator ring.In this episode of GMAB, Harriet is joined by one half of the duo: Gabrielle. The pair sink their teeth into the messy business of knocking the art world off its high horse – talking salary transparency, defying art school snobs, lazy reviewing, and why it’s totally okay to have nothing to say, because sometimes words just aren't enough. “I never want to write stuff that people don't know what we’re on about. I want us to all be at the table, and we all know what we're all talking about, and it's comfortable”. Strap in, this one's a rodeo.

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