Episode 10: Give me a break with Sadie Coles

14/10/25 3 min read

From Bristol’s Arnolfini to a new flagship on Savile Row, Sadie Coles has shaped the landscape of contemporary art for nearly three decades. In this episode, she joins Harriet to talk career pivots, creative instincts, common misconceptions – and how to cut through the art world’s BS.

Sadie Coles photographed by Jack Andrew Davidson

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 and dedication to London’s art scene 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’s opening 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.”