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	<title>Ginny Dougary :: Award-winning journalist and writer &#187; Artists</title>
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		<title>Subodh Gupta, India’s hottest new artist, talks about skulls, milk pails and cow dung</title>
		<link>http://www.ginnydougary.co.uk/2009/10/11/subodh-gupta-india%e2%80%99s-hottest-new-artist-talks-about-skulls-milk-pails-and-cow-dung/</link>
		<comments>http://www.ginnydougary.co.uk/2009/10/11/subodh-gupta-india%e2%80%99s-hottest-new-artist-talks-about-skulls-milk-pails-and-cow-dung/#comments</comments>
		<pubDate>Sun, 11 Oct 2009 12:07:21 +0000</pubDate>
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				<category><![CDATA[Artists]]></category>
		<category><![CDATA[art]]></category>
		<category><![CDATA[Subodh Gupta]]></category>

		<guid isPermaLink="false">http://www.ginnydougary.co.uk/?p=246</guid>
		<description><![CDATA[The Times October 10, 2009
- Ginny Dougary

His swaggering, exuberant work has made him India’s most talked-about artist, and the paintings of his wife, Bharti Kher, are also winning wide acclaim

India’s hottest contemporary artist, Subodh Gupta, dubbed the “Damien Hirst of Delhi” — they share an interest in skulls — is telling me that he likes his wife and fellow artist, Bharti Kher, as a friend. Sorry, could you repeat that? “I like Bharti more like my friend than my wife . . .” Kher, who is sitting with us in her husband’s newly built concrete and glass ultra-modern studio, nods her head. Hang on a minute, when you say that you like Bharti more as a friend than you do as a wife . . . ? “Revelation!” Kher cocks her head. “No! No!” Gupta (whose English is a little approximate) exclaims. “You’ve made me confused now. When we talk about art, it’s like a friendship, no? And then domestic work is completely different, and that’s irritating sometimes . . .” OK, but let’s get this straight: you are pleased you married each other? Gupta: “Yeah.” Kher: “Oh, yeah.” Whew, just checking. “Talk about Lost in Translation,” Kher whoops. “Good job I’m here, really!”


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</ol>]]></description>
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		</item>
		<item>
		<title>Paula Rego on her museum to celebrate the brutal world of Portuguese storytelling</title>
		<link>http://www.ginnydougary.co.uk/2009/09/28/paula-rego-on-her-museum-to-celebrate-the-brutal-world-of-portuguese-storytelling/</link>
		<comments>http://www.ginnydougary.co.uk/2009/09/28/paula-rego-on-her-museum-to-celebrate-the-brutal-world-of-portuguese-storytelling/#comments</comments>
		<pubDate>Mon, 28 Sep 2009 19:08:19 +0000</pubDate>
		<dc:creator>Administrator</dc:creator>
				<category><![CDATA[Artists]]></category>
		<category><![CDATA[Women]]></category>
		<category><![CDATA[art]]></category>
		<category><![CDATA[Paula Rego]]></category>

		<guid isPermaLink="false">http://www.ginnydougary.co.uk/?p=241</guid>
		<description><![CDATA[The Times September 19, 2009
- Ginny Dougary


The acclaimed artist has been inspired by her country's rich oral tradition. Now she is determined to keep that heritage alive

Paula Rego is talking about her love of pornography, particularly as penned by Henry Miller: “When I discovered it, I found it really quite wonderful and thought, ‘Gosh, look at that!’ ” Her sooty eyes gleam. “I used to read a lot of it and I just found it, you know . . . naughty.” 

Her discovery came when she was renting a studio in Dean Street, Soho, Central London, from a woman: “Not a tart, a lovely girl.” Are you saying that tarts can’t also be lovely girls, I tease her. “No, no, no, no, but she wasn’t a tart and this was in 1959, my dear, long before you were born. [I wish.] One day I looked up and saw this book and took it down and read it and I thought, ‘For heaven’s sake! I’ve never read anything like that in my life’.” 

Rego’s thoughts take off like startled birds. Her responses are unpredictable, and she can be tricky to pin down. Her art is a form of storytelling, often ambiguous and mysterious, hinting at sinister emotional or political complications. In her earlier work, particularly, you feel that something unspeakable is about to happen or has just occurred, challenging you to guess the narrative; it’s like a hard-core Vermeer. 


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<li><a href='http://www.ginnydougary.co.uk/2004/11/13/me-myself-i/' rel='bookmark' title='Permanent Link: Me, Myself, I'>Me, Myself, I</a></li>
<li><a href='http://www.ginnydougary.co.uk/2008/07/27/kay-saatchi-on-life-after-charles-saatchi/' rel='bookmark' title='Permanent Link: Kay Saatchi on life after Charles Saatchi'>Kay Saatchi on life after Charles Saatchi</a></li>
</ol>]]></description>
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		</item>
		<item>
		<title>How friends Ferran Adrià and Richard Hamilton inspire each other</title>
		<link>http://www.ginnydougary.co.uk/2009/07/16/how-friends-ferran-adria-and-richard-hamilton-inspire-each-other/</link>
		<comments>http://www.ginnydougary.co.uk/2009/07/16/how-friends-ferran-adria-and-richard-hamilton-inspire-each-other/#comments</comments>
		<pubDate>Thu, 16 Jul 2009 15:42:35 +0000</pubDate>
		<dc:creator>Administrator</dc:creator>
				<category><![CDATA[Artists]]></category>
		<category><![CDATA[Food]]></category>

		<guid isPermaLink="false">http://www.ginnydougary.co.uk/?p=221</guid>
		<description><![CDATA[The Times July 11, 2009
- Ginny Dougary

Food and art fusion cooks up surprising results

There are several moments in my interview with Ferran Adrià, the head chef of El Bulli, and the artist Richard Hamilton, when I feel like screaming very loudly or simply giving up.

We are here to discuss the surprising friendship that has grown up between the two men over the past 25 years.

First, for those who have not already read about Catalonia’s El Bulli phenomenon (with its three Michelin stars; regularly voted the best restaurant in the world): this is “an experience” rather than a meal, with an entirely new menu every year — the restaurant closes for six months while the chefs reinvent — and where nothing is what it seems to be. The dishes are beautiful, sculptural, outlandish and mess with your head. An “Oreo cookie”, for example, is made out of artichoke caramel, black olives and sour cream.


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<li><a href='http://www.ginnydougary.co.uk/2007/04/14/one-paston-place/' rel='bookmark' title='Permanent Link: One Paston Place'>One Paston Place</a></li>
</ol>]]></description>
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		</item>
		<item>
		<title>David Hockney on why iPhones are the future for art</title>
		<link>http://www.ginnydougary.co.uk/2009/05/25/david-hockney-on-why-iphones-are-the-future-for-art/</link>
		<comments>http://www.ginnydougary.co.uk/2009/05/25/david-hockney-on-why-iphones-are-the-future-for-art/#comments</comments>
		<pubDate>Mon, 25 May 2009 19:59:17 +0000</pubDate>
		<dc:creator>Administrator</dc:creator>
				<category><![CDATA[Artists]]></category>
		<category><![CDATA[art]]></category>

		<guid isPermaLink="false">http://www.ginnydougary.co.uk/?p=186</guid>
		<description><![CDATA[The Times May 09, 2009
- Ginny Dougary

As a major exhibition of new landscapes opens, Britain’s best-loved artist talks about mortality, family, his return to his beloved Bridlington, and why iPhones are the future for art

David Hockney is a very funny man. If he ever wanted to give up the day job — about as likely as Bridlington becoming the new St-Tropez — he would make a superb monologist; Spalding Gray, perhaps, channelled by Alan Bennett. 

He may have lived in Los Angeles for the greater part of the last 30 years but his humour, and accent, remain dry and forthrightly northern. His mother, Laura, who died in 1999 at the age of 99, was quite religious, he tells me, and was wont to refer to her late-beckoning mortality thus – “I haven’t been called yet.” Her son would sometimes joke: “Well, stay by the telephone.” He continues: “When I told that story to a friend of mine he said, ‘You might live longer than her, David, because you won’t hear the call’.” 


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</ol>]]></description>
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