Podkast Quran

It has been a whirlwind few weeks for the art industry in Europe. First, Frieze London and Frieze Masters alighted in Regent’s Park, and a bevy of satellite fairs opened all over the British capital. There were big-league openings, auctions, and a great deal more. Then the art crowd decamped for Paris for Art Basel, right after large-scale protests in the city and around France gave way to looting and police clashes. Student protesters shuttered the Louvre for a day, but the fair went ahead as planned, with some 200 exhibitors offering work at the Grand Palais. With another protest looming, the fair decided to cancel its weekend run, closing on Friday evening. To talk about it all, Andrew Russeth hopped on The Art Angle with Margaret Carrigan, our London-based News Editor, and Katya Kazakina, our Art Detective columnist, who is currently based in Rome.

It is not a happy time to be an arts advocate in the United States. The last year has seen the real threat of eliminating the National Endowment for the Arts, and the spectacle of the head of Smithsonian’s National Museum of American History hauled in front of Congress to be publicly grilled about her programming by Republicans. For many observers, all this is very alarming, but also gives the sinking feeling of having seen this story play out before. You often hear that we are living through a return of the “culture wars,” the turbulent period of very public, very bruising battles over decency and public funding for the arts from the late 1980s and early 1990s. In many ways, what happened back then set the template for the politics of today. This is the story told in the recently published book, The Perfect Moment: God, Sex, Art, and the Birth of America's Culture Wars. In it, author Isaac Butler revisits the various battles over the National Endowment for the Arts from of the ‘80s and ‘90s. He joins Ben…

If you are in New York this month, I have to insist that you make it over to the 41 Cooper Gallery at Cooper Union in the East Village, where an absolutely thrilling group show is on view through October 31. The exhibition looks at the history and continued resonance of Guild & Greyshkul, a storied gallery that operated from 2003 to 2009 in SoHo. It features work by more than 70 artists, famous and obscure, younger and older, including Mariah Robertson, Dana Schutz, Sara Greenberger Rafferty, Ryan Johnson, B. Wurtz, Ryan Muller, and Valerie Hegarty. Some exhibited at the gallery, and others were part of its extended network. The show was organized by Guild & Greyshkul’s three intrepid artist founders, Anya Kielar, Johannes VanDerBeek, and Sara VanDerBeek, at the invitation of Adriana Farmiga, the dean of the Cooper Union School of Art, and Yuri Masnyj, its associate dean. All five have work in the show. Sara VanDerBeek recently came by the Artnet News offices to discuss how she and her colleagues built Guild…

One of the major museum events of the fall is called "Krasner and Pollock, Past Continuous," at the Metropolitan Museum of Art in New York. It brings together 120 artworks by two of the titans of 20th-century American painting: Lee Krasner and Jackson Pollock. The two famously were a couple, and this show claims to be the first to look at their artworks specifically together as a dialogue. Jackson Pollock was, and is, known as the indispensable abstract expressionist. His expansive style of drip painting, made by throwing paint across a canvas on the ground, caught the media and the public's imagination in the early 1950s. The sensation around these paintings remade U.S. art. For many years, Krasner's reputation was in his shadow. Pollock died tragically in a car crash in 1956. Krasner lived on until 1984, and the Met show illustrates how she continued to experiment. These days, museums are featuring Krasner's inventive and varied paintings as much as Pollock's. A rebalancing, this show seems bound to…

What does it mean to make art on the internet? It's not a new question, but it's far from a settled question. From very early on in the history of the World Wide Web, artists leapt in to start experimenting, and very shortly after that, the organization Rhizome was born. Dedicated to digital art, it quickly became one of the most important advocates and keepers of its history. Last week, Rhizome celebrated its 30th birthday with a gala that brought together the luminaries of online art, both present and historical, and an art show titled "WEBSITES WEBSITES WEBSITES!" showing web-based work by Lorna Mills, Rafaël Rozendaal, Maya Man, Kim Asendorf, Luke Shannon, and many other names you either know or should know. This was the perfect time to talk to Michael Connor, longtime co-director of Rhizome. Ben Davis speaks with him to get the history of art online in all its chaos, and to asks him where he thinks it might be going next.

For many, many reasons, it has been several months since we have done one of our Art Angle chat-casts, where we assemble writers to talk about a few different news stories on the site. But it's September, and we're finally back at it. Today we'll be talking about three topics: First, here in New York, the fall art season kicked off with literally hundreds of gallery openings, followed by a bunch of fairs this week. The fall openings are always an event. This year, they're even more closely scrutinized, given how uncertain business has felt behind the scenes. We'll talk about highlights and observations from the galleries. Second, on the other side of the country, in Los Angeles, the Lucas Museum of Narrative Art has finally debuted. The brainchild of Star Wars maestro George Lucas and his wife Mellody Hobson, the long-in-the-works, billion-dollar institution has its own quirky vision of art. We'll talk about what that is and whether it works. And finally, we'll talk about developments in the truly epic…

This is a re-air of my interview with the artist Arthur Jafa. It came out earlier in the year, but with his much-anticipated career retrospective, Arthur Jafa, I Am Tony, now about to open at the New Museum in New York. It's very much worth another listen. Jafa is probably the most revered artist of the last decade. Born in 1960, in Tupelo, Mississippi, he came up through the world of cinema. But Jafa also found his way into the art world with his difficult video work and strange objects. In art, his reputation went vertical in 2016 with the video, Love Is the Message, the Message Is Death. It is a collage of found footage from social media that included police violence against Black people and also moments of viral celebration and joy. It was both experimental and accessible, and drew huge crowds when it was first shown at Gavin Brown’s Enterprise in New York. A follow-up film, called The White Album, won the Golden Lion for Best Artist as part of the main show of the Venice Biennale back in 2019. And this…

The humble wall label at an art exhibition has a funny status. It feels, on the one hand, like a side note or an afterthought. On the other, it is a first point of contact and literal guide for a visitor looking to know more. There is an entire undersung discipline, Visitor Studies, which has put a lot of time into thinking about how museums communicate. And yet, even so, some of the most prestigious exhibitions in the world are crawling with texts that I can barely understand. As a matter of fact, I’ve griped so much about bad text at art biennials and shows that I try not to do it anymore, just to avoid repeating myself. But recently, I decided I would get it out of my system for good and be constructive and write an essay about where I think these texts go wrong and what I think works. Katherine Whitney thinks about museum texts professionally, she has worked with a number of museums and with Beverly Serrell on the 2024 edition of Serrell’s Exhibit Labels: An Interpretive Approach, a standard resource on…

The ancient Romans called the Mediterranean mare nostrum, "our sea." But before the Romans rose to power, the Etruscans had extensive trade networks in the area and controlled much of the Italian peninsula, the future heart of the Roman Empire. Between around 900 B.C.E. and the first century B.C.E., the Etruscans lived in city-states, developing beguiling artworks and making technological advances that are the subject of an astonishing show at the Legion of Honor in San Francisco. "The Etruscans: From the Heart of Ancient Italy," which runs through September 20, tells the story of people who were deeply religious, alive to life's great pleasures, and in dialogue with societies in distant lands. There are remarkable loans from more than two dozen institutions, including treasures that have never before been allowed to travel. Renée Dreyfus, the curator in charge of ancient art at the Fine Arts Museums of San Francisco, organized this tour de force and joined Andrew Russeth on The Art Angle to discuss it.

Artists and creatives have been fascinated with tarot for over 600 years. Recently, that fascination has resurfaced in a big way, showing up everywhere from museum walls to fashion runways. That's not surprising. As a sweeping universal narrative language small enough to fit in your pocket, tarot's archetypal imagery is built for rediscovery and reinterpretation. Once a medieval royal court game, tarot drifted into the realms of the occult, especially in the 18th and 19th centuries. In the 21st, it's entered the pop culture zeitgeist—accessible, affordable, and able to offer insight into the present, past, and future, but most importantly, yourself. Artists have long mined the cards for spiritual and creative inspiration, contributing to their enduring relevance. Pamela Colman Smith designed the deck that's still the industry standard, back in 1909, though her name was buried for decades under the man who commissioned it. Leonora Carrington painted a hauntingly surreal Major Arcana in 1955. Salvador Dalí…

Julio Torres and Martine Gutierrez share a knack for building worlds and characters that operate on their own wonderful, absurdist logic. Throw them together, add some sea water, and you get Marina, their new performance commissioned by the Whitney Biennial. Marina begins with a construction worker tossing a smartphone into the ocean and ends with a sea wench possibly discovering the internet. It’s like the Little Mermaid, but filtered through the flights of imagination that Torres and Gutierrez have become known for. Torres first came to prominence as a writer for Saturday Night Live, but has since carved out one of the most distinctive creative paths around. He created the TV shows Los Espookys and Fantasmas, and made his feature debut with Problemista, starring Tilda Swinton. His comedy specials, My Favorite Shapes and Color Theories, are less stand-up than windows into the idiosyncratic way he sees the world. Gutierrez, meanwhile, has spent her career transforming identity into an expansive artistic…

We’re in the hot dog days of August, awaiting the new art season to kick off in September. In the meantime, I thought we might take the temperature of art in New York, looking at two big museum shows that opened earlier ruin the year, and that seek to highlight new voices from the city. So, we will be talking about “Greater New York,” the important show at MoMA PS1 in Queens that once every five years. This time out it has over 53 artists and collectives from the Big Apple, stretched across several floors of the museum, and is certainly worth checking out before it closes its several months run. It’s gotten generally very positive reviews. We’ll see what we think. And the other show we’re going to be talking about is the “Seventh AIM Biennial” at the Bronx Museum of the Arts. It’s called “Forms of Connection” and features art by the last two classes of the museum’s Artist in the Marketplace program. That’s a year-long career accelerator and professional development seminar that takes on 14 artists based in…

At the end of last year, Annie Armstrong stepped down as Artnet's gossip columnist after filing 198 Wet Paint columns over the span of more than four years. Gabi Vidal-Irizarry has picked up the mantle. Annie departed the art world for the food world to write for Caper Media, an enterprising new startup that aims, in its words, "to tell the inside story of the restaurant business in New York." While Annie is on a new beat, she's found that the art and restaurant worlds are closely intertwined in New York, and her must-read weekly column regularly charts the goings-on of promising artists, dealers, and collectors in our city's dining establishments. Especially remarkable art food crossovers have just arrived. Sotheby's, the New Museum, and Amant out in Brooklyn all have high-profile and highly ambitious new restaurants in Marcel, Oberon, and Zoli Restaurant respectively. Annie's been to all three, and so it was a thrill to have her back on the Art Angle to discuss those spots, as well as where art people like…

The art market is a famously opaque place, a world of handshake agreements and big-dollar private deals. How does it actually operate, and how has it changed over the centuries? In a richly researched new book titled Trading Beauty: Art Market Histories from the Altar to the Gallery, Valentina Castellani provides surprising answers, drawing on a long and storied career in the industry. She's worked at Sotheby's and Gagosian, where she helped organize landmark exhibitions devoted to Pablo Picasso and Piero Manzoni. Now, she's an adjunct professor at New York University's Steinhardt School, where she teaches a class about the art market. Castellani's book, which is published by Gagosian, reveals how popes, aristocrats, plucky entrepreneurs, and brave true believers developed new ways of commissioning, funding, and selling art, from medieval frescoes to avant-garde conceptual pieces. It's a wild ride, and it spans some 1,500 years. She joined Andrew Russeth on The Art Angle to delve into her findings. During…

In this re-air of an episode from last year. Ben Davis speaks with Julia Cameron, the author of The Artist's Way. It is a somewhat unusual subject for us, but it's also been an episode that's been very meaningful to a lot of listeners. And in case you're wondering, Ben started doing morning pages to prepare for the interview, and six months later, and he has stuck with it. Millions of people know The Artist’s Way. First published in 1992, the book began as notes for a class that its author, Julia Cameron, taught on creative self-discovery or, as she sometimes prefers to call it, “creative recovery.” It found a huge audience, and today you can find Artist’s Way groups all over the world. Cameron’s original The Artist’s Way offered a 12-week path towards overcoming artistic blocks. The book was subtitled “A Spiritual Path to Higher Creativity,” and it spoke of plugging into a current of what she called “spiritual electricity.” But her techniques were practical and easy to grasp. Rituals from The Artist’s Way…

It is a time of disorienting, sometimes surreal shifts in the worlds of politics and technology. There aren’t too many artists who you might trust as a guide, but Trevor Paglen is one of them. Paglen has long functioned as an artist-researcher, with a fascination for pushing to the outer limits of what is seen or known. His work has often not just responded to but anticipated major conversations around government surveillance, conspiracy theory, and the politics of Silicon Valley. And he has an important new book just out from Verso, How to See Like a Machine: Images After A.I. It collects his writings on how the world of culture is mutating, exploring the secret networks of power that we can’t see but that govern how we see. Paglen also has a new art piece, “Voyager,” currently on view in a show called “Strange Rules” in Venice. In essence, it is an artwork whose medium is hypnosis. Paglen has invented a device that guides you into a trance state to permit you to have otherwise impossible artistic…

There are only a very few artists from the 20th century who are truly household names, figures like Salvador Dalí, Frida Kahlo, and Andy Warhol. The name M.C. Escher is certainly on that short list. Escher’s impact on the wider culture may be as big, or even bigger that of those other figures, even as he remains somewhat hard to classify as an artist. Born Maurits Cornelis Escher, the Dutch artist was a highly skilled maker of woodcuts, lithographs, and engravings, bringing a sense of exquisite precision and intricate geometry to his compositions. But as an artist, Escher is almost synonymous with the idea of visual paradox. You will know him for works like Drawing Hands (from 1953), depicting two hands holding pencils, each seeming to emerge from a piece of paper, where they are each being drawn by the other, in a magical loop. Or for Ascending and Descending (from 1960), showing a palace with a looping set of stairs on its roof, which seem, due to Escher’s cleverly realized optical illusion, to be leading…

Doug Aitken’s new installation Lightscape has just landed at the Shed in New York. It is many things at once: a seven-screen film, an immersive environment, and a stage for live performances. But at its heart is music. The work unfolds across multiple screens, following different characters as they move through desert scenes, freeways, and other landscapes in flux. What binds those worlds and narratives together is sound. Aitken built Lightscape around an original song cycle he wrote. The soundtrack also incorporates compositions by Minimalist pioneers like Philip Glass, Steve Reich, and Meredith Monk, performed by the Los Angeles Philharmonic. Last week, the work opened with a live performance by Los Angeles Master Chorale—but they won’t be the only musicians activating the installation. Upcoming performances will feature William Basinski, Suzanne Ciani, and the Sun Ra Arkestra. In that sense, Lightscape picks up on a thread that has long run through Aitken’s practice. One of his earliest works, Diamond…

Some of the most important visual artist working today are sound artists. It seems that sound in general has been growing in importance at the museum recently. Exhibitions come with soundtracks, sculptures make noise, and musical performance of one kind of another is everywhere in and around the art. Ben Davis wanted to dig into this “sonic turn” in art, if that’s what it is—and the artist Tarek Atoui is a great person to talk to. Born in Lebanon and based in Paris, Atoui’s work often takes the form of environments, with sculptures that double as experimental musical instruments, to be activated by the audience or performers. This form of art is both unique and clearly resonates with a bigger trend of using sound to activate the museum as an event space and a space of gathering. At the current Venice Biennale, Atoui is part of the Qatar Pavilion for a project called “Untitled 2026 (A Gathering Of Remarkable People),” working with a super-group of famous figures from the worlds of art, music, and food to make…

This week the art world descends on Basel, a Swiss city on the Rhine River, where the latest edition of the world's most important modern and contemporary art fair is taking place. We're talking about Art Basel, of course. Its 290 exhibitors include all the top galleries of the world. It's a place where you can see and buy museum-quality Picassos and Warhols next to still-wet-paint by emerging artists, though there's not as many of those lately. Major collectors like Don and Mera Rubell are there, and so are celebrities like Kanye West and James Franco. At the center of it all is Noah Horowitz, who has been CEO of Art Basel since 2022. Noah and senior writer, Katya Kazakina, have known each other for years, throughout which he has stood at the helm of various art fairs, starting with the first online art fair called VIP in 2010. In 2011 he became the executive director of the Armory Show in New York and remained in that role for almost four years until 2015. He then advanced to Art Basel, becoming its head…

Roberta Smith is the exemplar of popular art criticism. For almost four decades, Smith was a familiar voice on the arts pages of the New York Times, serving for many of those years as co-lead art critic. Both feared and revered, she is known above all for close looking, precise description, and a style that’s accessible but serious. In 2019, she won the Rabkin Award for Lifetime Achievement. Smith moved to New York in the late 1960s, studying at the Whitney’s Independent Study Program and meeting her first mentor, the sculptor Donald Judd. In the early 1970s, she worked at the Museum of Modern Art and Paula Cooper Gallery, then began writing for various art magazines. In the 1980s, she began writing for larger audiences at the Village Voice, and then for the Times starting in 1986. Smith retired two years ago. This week, she is back because a film, called House of Criticism, about her and her husband, New York magazine art critic Jerry Saltz, is making its debut at the Tribeca Film Festival. Ben Davis took…

This week we're re-airing a favorite episode featuring Kate Brown interviewing Ben Davis about the “Raphael: Sublime Poetry” blockbuster at the Metropolitan Museum of Art. The show is the first comprehensive international loan exhibition ever dedicated to him in the United States. There are 237 works in total—33 paintings, 142 drawings—and his Sistine Chapel tapestries. There are loans from the Louvre, the Vatican Museums, the Prado, the Uffizi, and the British Museum. Many of these works, according to the Met, have never been shown together, and some have never previously left Europe. Curated by Carmen C. Bambach, it took 17 years to assemble. No one quite captured divine beauty like Raphael did. But what is the story within the story of this artist who left indelible mark on western art? This week, we find out.

Arthur Jafa is probably the most revered artist of the last decade. Born in 1960, in Tupelo, Mississippi, he came up through the world of cinema. But Jafa also found his way into the art world with his difficult video work and strange objects. In art, his reputation went viral in 2016 with the video, Love Is the Message, the Message Is Death. It is a collage of found footage from social media that included police violence against Black people and also moments of viral celebration and joy. It was both experimental and accessible, and drew huge crowds when it was first shown at Gavin Brown’s Enterprise in New York. A follow-up film, called The White Album, won the Golden Lion for Best Artist as part of the main show of the Venice Biennale back in 2019. And this month, Jafa is back in Venice, this time in a two-person show called “Helter Skelter,” curated by Nancy Spector, pairing him with the famous artist Richard Prince, also known for using found and appropriated imagery to disorienting effect. That show…

During fair week in New York in mid-May, Andrew Russeth had the high pleasure of moderating a panel about the state of arts philanthropy at TEFAF New York. Joining him on stage at the Park Avenue Armory were two leading figures in American patronage, Sarah Arison and Michi Jigarjian. Arison was named president of the board of the Museum of Modern Art in New York in 2024 at the age of only 39, making her the youngest person to ever hold that position. The president of the Arison Arts Foundation, she also chairs the board of YoungArts and serves on a variety of boards, including those of MoMA PS1 and American Ballet Theatre. Jigarjian is CEO of Work of Art Holdings and a partner at 7G Group. She is the force behind the culturally rich Rockaway Hotel out in Queens, and for 15 years led the Baxter St at CCNY as its president. A first-generation Mexican American, she is on the boards of the Brooklyn Museum and MoMA PS1. During the panel, which was titled “Who Supports Art Now? Patronage in a Shifting Cultural…

Los Angeles has a new museum. Or a new vision for an old one. One of the most important museums in the country, the Los Angeles County Museum of Art, has just debuted a long-awaited new building. It’s designed by the revered Swiss architect Peter Zumthor. It cost three quarters of a billion dollars to realize. And long before it opened to the public last month, it has been controversial, for a whole host of reasons. It debuts with LACMA’s charismatic director Michael Govan promising not just a new LACMA, but a new vision for how museums show art and relate to the public. Ben Davis went out to Los Angeles to see the new building last month, and spoke to culture critic Carolina Miranda. Miranda has the gift of being both a sharp observer or L.A. art and a gifted translator of sometimes esoteric museum and architecture debate. She has published an analysis of Zumthor and Govan’s vision means for CityLab, called “For Better or Worse, the New LACMA Is an Instant LA Icon,” and she is here with me today to talk…

At the Venice Biennale, every two years, we expect big things from the artists picked to represent their countries. But I'm not sure anyone can quite prepare themselves for the universe of Florentina Holzinger. After years becoming a titan of the theater world, Holzinger is now getting one of the most visible slots in the art world, a national pavilion in the Giardini. She’s representing Austria this year for what is surely going to be one of the most talked about pavilions. Known for feminist performances that push the human body—and, by extension, the viewer—to their absolute limits, she does not shy away from nudity or sexuality. Flesh hooks, stunt artistry, live tattooing, bodily fluids, heavy machinery—all of it is in play, and none of it is trying to be polite. The physicality of her practice is not for the faint of heart, nor for her performers. Her work tends to divide a room, something Holzinger seems entirely unbothered by. Opening May 9th, her exhibition called “Seaworld Venice” fills the Austrian…

We talk a lot about biennials. Art is in some ways a very local, in-person thing. Yet artists and creators and writers are also part of a global conversation, looking at and thinking about each other across borders, and these big, recurring art festivals can serve as an opportunity or a prompt to think about what that bigger conversation. One of the biggest, the Venice Biennale, is coming up next month. It’s centered around a show called “In Minor Keys,” curated by the late curator Koyo Kouoh. My colleague Jo Lawson-Tancred recently had an article looking at the artists in that show, comparing where they were from and how old they were to the last several editions, to see how the art conversation was evolving. Meanwhile, Ben Davis just published a big project this week, looking at the last four years of art biennials around the world, from the big ones in places like Istanbul, Gwangju, São Paulo, Sharjah, and Venice, to smaller or more experimental ones. He gathered all the names of artists to find out who…

This interview with the painter Taina H. Cruz first came out for the opening of the Whitney Biennial, and on the occasion of the opening of Greater New York at MoMA PS1, where Cruz is also featured, we're resurfacing it. This is a lot of attention for an artist who is relatively young (born in 1998), and who just earned her MFA from the famed Yale School of Painting last year. She’s worked in a variety of media, but is known now for paintings often featuring images of Black female figures with a moody, woozy, sometimes unsettled or unsettling atmosphere. Sometimes Cruz works in suggestions of African American and Caribbean folklore, or intimations of horror and fantasy. Sometimes, she’s played on the images of celebrities like Halle Berry or Tyra Banks. Sometimes she reworks her own personal photos of neighbors from New York. Since Cruz is an artist that the curators of these big shows are looking to, critic Ben Davis, wanted to get a sense of the influences—from art and otherwise—that are shaping her…

What a difference 12 months makes! After years of declining sales in the auction realm, there are finally signs of life. The Artnet Intelligence Report: The Year Ahead 2026 reveals that global auction totals were up 13.3 percent in 2025 versus 2024. The full report, rich with new findings, is now available as a crisp PDF. The price? Free. (We hope that its contents will inspire you to subscribe to Artnet Pro, and to partake of the Artnet Price Database.) In the report’s cover story, “Dark Mode,” Artnet’s Art Detective columnist, Katya Kazakina, delves into the intriguing and shadowy world of private auctions, where big-league paintings (and cars, jewelry, and more) trade behind closed doors, for enormous sums. In some cases, only certain collectors are invited. Many in this clandestine business seem to enjoy it, and Kazakina charts the major players and their strategies. Meanwhile, in wide-ranging interviews, an auctioneer (maverick Joe Maddalena), an auctioneer-turned advisor (powerhouse Patti Wong), and an…

The average metropolitan person now is exposed to more media in a single day than someone a few generations ago would absorb in a lifetime. Amid the deluge of hot takes and commentary on today’s image culture, and its effects on our brains, many people have also been looking back to an older figure for guidance, one who seems to have been something of a prophet: the philosopher Vilém Flusser. Born in 1920 in Prague, Flusser lived a fascinating life, working in São Paulo, Brazil for decades, before returning to Europe, where he died in 1991. In his writings of the 1980s, Flusser created a unique body of theory about how new genres of media were giving birth to a new form of consciousness, one defined by images over the written word. Flusser thought this transformation would reshape the world, and he developed a whole vocabulary to think about it, concepts like the “technical image,” “the apparatus,” and “techno-imagination.” These have had a huge impact on media studies, and yet remain under-known. Long in…

Raphael is one of those names that everyone knows. He is the prince of painters, a master of the High Renaissance. And the Metropolitan Museum of Art has given him the full blockbuster treatment in a highly anticipated exhibition called "Raphael: Sublime Poetry." The show is the first comprehensive international loan exhibition ever dedicated to him in the United States. There are 237 works in total—33 paintings, 142 drawings—and his Sistine Chapel tapestries. There are loans from the Louvre, the Vatican Museums, the Prado, the Uffizi, and the British Museum. Many of these works, according to the Met, have never been shown together, and some have never previously left Europe. Curated by Carmen C. Bambach, it took 17 years to assemble. No one quite captured divine beauty like Raphael did. But what is the story within the story of this artist who left indelible mark on western art? Kate Brown is joined by art critic and podcast co-host Ben Davis, who has just published a review of the exhibition, to dive into…

Spring is upon us. March has seen a burst of big art events—the true start of a busy year. This week, Kate Brown and Ben Davis are joined by senior writer Eileen Kinsella to discuss some of the biggest art stories of the month. In this episode, will be discussing: — The 2026 Whitney Biennial, which opened at the beginning of the month. It always gives a snapshot of who’s in and who’s out, and what’s on curators minds. (I've written two pieces on it, here and here) — The rise of a new art historical art star: the Flemish baroque painter Michaelina Wautier (1604–1689). — And a new investigation that claims to definitively, absolutely, positively once and for settle the question of who Banksy really is. Do we think they did it? Does it matter? Register for: The Intelligence Report, Year Ahead 2026 Edition

The New Museum opens its new building this week. And it’s doing so with a big show called “New Humans: Memories of the Future,” about how artists rethought what it means to be human through technology. It’s a topic on a lot of people’s minds. Among the many artists whose visions feature in the show is Christopher Kulendran Thomas. Kulendran Thomas has a lot going on. Aside from the New Museum, he’s got another video installation up at the Museum of Modern Art right now, while last fall, his work “Peace Core” showed at Gagosian Gallery in New York. He also runs a project space, Earth, on the Lower East Side in New York and in Echo Park in L.A. Kulendran Thomas's works are complicated. They often feature paintings, inspired by A.I.-generated images. His video installations at MoMA and the New Museum involve deepfake interviews with celebrities like Taylor Swift, Kim Kardashian, or even other artists, together with documentary footage about Sri Lanka, where his family is from. Beneath all these complex parts,…

Kim Gordon—artist, musician, writer, and co-founder of the iconic rock band Sonic Youth—is one of the most restlessly creative figures in American culture. Over the past four decades moved between mediums with an ease that few can achieve. She published her memoir Girl in a Band in 2015 to wide acclaim. Her visual work has been shown at institutions including the Andy Warhol Museum, the Irish Museum of Modern Art, and the Busan Biennale. Her 2024 solo album The Collective, a record built on trap beats and with sharp cultural commentary, earned her two Grammy nominations, a career first. But Gordon was always an artist first. Now, she is the subject of two concurrent exhibitions now open at Amant, the Brooklyn-based arts organization. The first is her solo survey "Count Your Chickens," which brings together painting, ceramics, film, and readymades spanning nearly 20 years of work. The second is "Folded Group," a group show she co-curated with Bill Nace, her collaborator in the experimental guitar duo…

The Whitney Biennial is here. That would be the Whitney Museum’s big curated show which every two years brings together dozens of artists, always closely watched by critics and public as a statement about what is important now in art. Hot on its heels, next month, MoMA PS1 is staging "Greater New York." That event happens every five years, bringing together dozens more artists to take the temperature of art in New York. Taína H. Cruz, my guest today, is featured in both these shows at once. For the Whitney, she is even, in a way, the face of the show: a work by Cruz, a green-tinged close-up painting of a grinning child, called I Saw the Future and It Smiled Back, is blown up on a billboard outside the museum in the Meatpacking District. This is a lot of attention for an artist who is relatively young, born in 1998, and just getting her MFA from the famed Yale School of Painting last year. She’s worked in a variety of media, but is known now for paintings, often featuring images of Black female figures with a…

It’s time for our monthly news roundup where we discuss some of the biggest stories emerging in the art world. On the heels of the first-ever Art Basel Qatar, we will be discussing the Middle Eastern art market and the regional art scenes. Is this simply another fair on the global circuit, or something more structural—an attempt to recalibrate where cultural power sits? We will doing a vibe check on the Ultra-Contemporary art scene’s current obsession with Old Masters, art history, and dead artists. As market pressures mount and institutions increasingly turn toward estates and historical figures, we’ll ask whether this is a genuine intellectual reckoning or a marketing strategy dressed up as scholarship. Maybe it is both? Finally, we will rove over to Rome, Italy, where where a church fresco featuring an angel that bore a striking resemblance to Italian Prime Minister Giorgia Meloni was abruptly removed, sparking debate within and well beyond the church about restoration, iconography, and the politics of…

There are many ways to read the vast trove of documents tied to the convicted sex offender and financier Jeffrey Epstein, who died by suicide in prison in 2019. The Epstein files offer a window into the rarefied, power-brokering circles he inhabited. But the latest tranche—released by the U.S. Department of Justice in late January and comprising some three million pages, 2,000 videos, and 180,000 images—also provides a behind-the-scenes view of high-level financial maneuvering, including Epstein’s connections to the art and cultural worlds. Revelations in the latest files have already had consequences: former French culture minister Jack Lang resigned as president of the Arab World Institute after disclosures connecting him to Epstein, and French financial-crimes prosecutors have opened a preliminary investigation into him and his daughter for alleged “aggravated tax-fraud laundering.” Art collector and film producer Steve Tisch is also facing scrutiny over email correspondence with Epstein in 2013…

There is an enduring association with creative experiment and psychedelic experiences. Recently, psychedelics have become more mainstream, explored not just for their far-out spiritual associations but as medicine, as therapy, and even just to make you more productive. How should we think about psychedelics and how they relate to art and art-making now? Ryan McGinness has had a long and well-known career as an artist. His densely layered, colorful abstract paintings have been shown at museums and galleries around the world. He’s also long explored world-building through his art, expanding his designs to maze-like environments and staging sprawling events and parties. Recently, however, McGinness has showed a new side of his creative journey. He has just published an art book, Trip Advisor: Notes From over 25 Years of Psychedelic Voyages, from Blurring Books. The colorful tome collages together images of McGinness's paintings and photos of his studio and life with the raw diaries he kept beginning in 1999, as…

If you had to pick two conversations that defined the last 10 years in art, one would certainly be about digital culture and online life. The other would be about race, racism, and representation. The critic and artist Aria Dean has been at the center of both these conversations. As a theorist, her essays on these topics are much cited. You can find them gathered in the recent collection Bad Infinity, from Sternberg Press. She also worked for some years at Rhizome.org, one of the most important venues advocating for digital art. As as an artist, Dean has been in many important shows, from the Hammer Museum’s Made in L.A. Biennial to the Whitney Biennial here in New York. Recently, for the Performa biennial of performance art, Dean staged The Color Scheme, a two-person theatrical work, which is also set to tour to Berlin later this year. The Color Scheme focuses on an imagined meeting in the 1920s in Berlin, between two Black intellectuals, one called The Poet and the other called The Philosopher. It may be…

Here we are, already at the end of the first month of the new year. That means it’s time to do the first Art Angle Round-Up of 2026, where, as is custom, we’ll review some of the art news stories that people are talking about, and what they might tell us something about the forces shaping the year to come. Today art critic Ben Davis, senior editor Kate Brown and editor in chief Naomi Rea talk about three stories: —The big controversy over the South Africa pavilion at the Venice Biennale, which Artnet News has had multiple pieces about. —The Prado Museum in Madrid, which has a good problem: it has too many visitors. It also has a plan to deal with overcrowding. —The mini-genre of "speed painting," specifically the painter Vanessa Horabuena. She sold a painting of Jesus for almost $3 million dollars that she made in 10 minutes at a Mar-a-Lago fundraiser—a sign of the world out of control, though perhaps a slightly more fun one to talk about than some of the other things in the news. Or maybe not.

The first quarter of the 21st century is now behind us. Yet a pervasive sense of cultural stagnation persists: many observers and participants feel that creativity across the arts, media, and popular culture has slowed, leaving society with a muted sense of innovation and excitement. David Marx’s new book, Blank Space: A Cultural History of the Twenty-First Century, provides an incisive guide through the cultural touchstones that have defined the last twenty-five years. Marx examines how commercialization gradually came to dominate contemporary culture, propelled by rapid technological advancements and a shifting cultural mindset that favors profit-driven formulas over experimentation. He argues that these dynamics—spanning art, literature, music, film, and fashion—have stymied radical innovation, making the opening decades of the new century some of the least transformative since the invention of the printing press. As Marx observes, there is now “a conspicuous blank space where art and creativity used to…

In art right now, it's hard to avoid talking about Beeple. That, of course, is the alias of Charleston-based Mike Winkelmann, known to millions of followers for digital images that he makes and posts daily. These works give off the sense of a brain overdosing on memes—we're talking pictures of giant emojis and pop culture junk being worshiped in dystopian techno hellscapes, or melted versions of celebrities and politicians turned into grotesque monsters and killer robots. Beeple first burst into the center of the art world conversation in early 2021 when his work Everydays, The First 5,000 Days hit the block at Christie's Auction House. Sold as an NFT, it was essentially a high-resolution digital image that compiled everything he had made in his first decade-plus of daily posting. It sold for a shocking $69 million, still one of the biggest prices ever for a work by a living artist, and it made Beeple a symbol of both the new respect and opportunity for digital artists and of critics' worst fears about a…

At the top of 2025, the outlook for the art industry was pretty bleak, and art insiders' worst fears were, in some cases, more than realized. By now, if you're paying any attention to the movements in the art market you have been hearing the drumbeat of bad news: Galleries shuttering, a lot of the buying energy drying up, some fairs shriking operations, and the secondary market stuttering. But the picture is, as usual, quite nuanced depending on how you look at it. There were some upsides to the slowdown in the hype and the speculation gamification of art seems to be over, which some art insiders say is not the worst thing. Things seemed to turn a corner in the closing months of 2025, which included a successful fall New York auction week and a stronger-than-expected edition of Art Basel Miami Beach. Following two years of a down market and declining sales, the world’s two leading auction houses Christie’s and Sotheby’s reported at the close of the year, upticks in total projected revenue for 2025. So is the…

As we close out another bumpy year in the art market, we are revisiting a recent episode that looks at one of the factors in play: the erosion of logic when it comes to the price of works of art. Our editor-in-chief was on the podcast sharing what she learned about how the rules of art pricing were made and broken—and what may come next. What’s a painting worth? For art world professionals, that question of price has never been easy—but lately, it’s gotten harder than ever. As we’ve discussed on this podcast before, the art market has cooled off. But this isn’t just a downturn—it’s a disruption. The system that once supported pricing logic is now in disarray, and dealers and advisors are feeling the strain. In a recent report for Artnet News Pro, our editor-in-chief Naomi Rea explored how the traditional rules of art pricing have stopped making sense. With confidence waning and speculation drying up, dealers are quietly recalibrating. What we’re seeing may be more than a correction—as Naomi reports, it could…

We love to do deep dives into trends that we are noticing in painting and the trend of “Bordercore” was one of our best-loved from the year, so we decided to revisit it this holiday season. We take a look at the emergent trend in art which is wild and inventive takes on frames, suddenly front and center for many painters of the moment as a way to push new boundaries in painting. Almost by definition, the frame of a picture is something that you are not supposed to notice. But if you go to the art galleries to look at paintings now, you might get a very different sense of what a frame can or even should do. Weird and wild frames that very much draw attention to themselves seem to be having a moment. Recently, Artnet writer and editor Katie White penned a piece titled “Bordercore: Why Frames Became the New Frontier in Contemporary Art,” in it, she writes: A new wave of contemporary art is reconsidering the frame as a central character, one that is surreal, sculptural, and symbolic. Artists are using the border…

Chris Kraus is one of the most well-known contemporary art writers. She is also an important taste-maker, co-editor of independent publisher Semiotext(e), which played a key role in introducing French theory to U.S. audiences. But Kraus is probably best known today as a novelist. Her 1997 autobiographical novel I Love Dick became a buzzy literary reference in the 2010s, and a model for autofiction. It was even made into an Amazon show. This fall, Kraus put out a new novel, titled The Four Spent the Day Together. It has a cryptic three-part structure that I think I should set up. The first part focuses on a young woman named Catt Greene. Drawing heavily on Kraus’s own life, it describes a childhood growing up in Connecticut, being bullied, and dreaming of leaving the hardships of her depressing lower-class life behind through experiments with drugs and sex, activism and art. The second part focuses on Catt many decades later, now an art critic and novelist who has found unexpected success with a novel called…

We are back this week with our monthly edition of the Art Angle Round-up, where co-hosts Kate Brown and Ben Davis are joined by a guest to parse some of the biggest headlines in the art world. As we close out a busy calendar year—and for the last roundup of the year—we are reviewing all of 2025 and the trends, themes, and stories that defined it with Andrew Russeth, Artnet Pro editor and art critic. It's been a whirlwind of a year. We take a look at the art market, where slumped sales, gallery closures, and existential dread dominated the business up until November, when New York’s fall auctions saw the narrative take a turn, something that seemed to sustain across the primary market at Art Basel Miami Beach. We discuss what this could mean for 2026. In the realm of politics, Trump 2.0 began, which ushered in a wave of policy shifts, cultural tensions, and uncertainty that reverberated across the art world, from federal arts funding to museum governance and international cultural exchange. We also ask…

Millions of people know The Artist's Way. First published in 1992, the book began as notes for a class that its author, Julia Cameron, taught on creative self-discovery or, as she sometimes prefers to call it, “creative recovery.” It found a huge audience, and today you can find Artist’s Way groups all over the world. Cameron’s original The Artist’s Way offered a 12-week path towards overcoming artistic blocks. The book was subtitled “A Spiritual Path to Higher Creativity,” and it spoke of plugging into a current of what she called “spiritual electricity.” But her techniques were practical and easy to grasp. Rituals from The Artist’s Way such as starting your day by writing out three pages of unedited text, known as "doing your Morning Pages," have become part of the creative process of many, many artists, musicians, and writers. More than three decades after its publication, The Artist’s Way continues to find new followers, and even got a new bump of popularity during the 2020s. And Julia Cameron herself…

You've been hearing a lot about the Louvre lately. Last month, thieves broke into the Paris Museum in broad daylight when the museum had just opened and made off with eight pieces of royal jewelry. The spectacular heist captured the world news cycle and the imagination of the internet. But why are people so obsessed with the Louvre in general? What is it about this museum in particular? We decided to re-air a recent episode where we look at the enigmatic institution and dive into the many secrets and stories that it holds. The Louvre is among the largest, most-visited, and best-known museums in the world, and for nearly too many reasons to count. It’s home to some of the most celebrated works of art, from the Venus de Milo to the Mona Lisa. Its blended contemporary and historic architecture is astounding. And it also has a truly formidable past, stretching back through time, well before the building became a museum in 1793. An institution and collection that has been a quiet witness to so much history and…

Last year, Jack Hanley—one of New York’s most beloved and idiosyncratic gallerists— announced he would close his gallery after 37 years in business. The news landed with both surprise and sadness: Hanley has always been a disruptor, a dealer with a sharp eye for fresh talent, who followed instinct over market logic. A gem of the New York art scene and beyond. Over the decades, Hanley gave early shows to artists like Günther Förg, Christopher Wool, Sophie Calle, and Christian Marclay—and all of that was long before they became art-world names they are now. He helped define the San Francisco scene of the 1990s, championed artists who blurred lines between high and low and made challenging work; and more recently, even gave the digital artist Beeple his first-ever gallery show. As a former Grateful Dead roadie, avid orchid grower, art fair founder, and having run galleries in several cities, he’s seen a lot. And played music with more than a few art dealers. Hanley joins senior editor Kate Brown to discuss…