Give me a break

On Give me a break this week, Harriet’s guest is the artist Tai Shani. Tai was born in London in 1976, and had an unconventional, hippyish childhood, including time spent in a psychedelic community in Goa, which offered her a liberal perspective, but as she puts it, a slightly mangled relationship with authority. 
She always knew she’d be an artist, but it’s been a road filled with detours. From working as a fashion photographer in the 1990s to crafting dildos for a lesbian sex shop (that’s Doctor Dildo to you). It’s no surprise then, that Tai’s eclectic background is reflected in her practice. Tai is an architect of myth, moving between performance, film, installation (whatever medium feels right at the time) and experimental text, which underpins her work. In her epic, sci-fi infused universes – some of which are years in duration – Christine de Pizan meets hallucinogenic fungi, cosmic slime meets feminine excess, and forgotten histories are reimagined. 
In 2019, she made history when she won the Turner Prize, sharing the honour alongside three other nominees, who collectively asked to share the award in a statement of solidarity. Alongside her work, Tai has been a longtime tutor in contemporary art practice (she was recently named a visiting professor at the Royal College of Art), which has given her a window onto the challenges facing emerging artists today. In this conversation, Tai and Harriet talk rejection, learning curves, performances gone wrong, bad crits (you know we love disaster on GMAB), and even going TikTok viral (like proper viral) with her recent installation at Somerset House. Tai also reflects poignantly on the grief of losing her mother, to whom her current show at Gathering is dedicated. 
"I've always tried to use the spite of rejection as a way to be like 'I'll show you.' Because I've had a lot of it, and my trajectory wasn't smooth, really, at all."

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.”

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.”

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."

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."