The Art Angle

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 not just to contain, but to comment, disrupt, or extend the work beyond itself. This is driven by an embrace of more bespoke, historic artistic processes, but also, as a rebuttal to the superflat virtual age. More and more, paintings have been appearing at fairs and in exhibitions with statement frames, after a long era of often-frameless display. If for previous generations, the frame was a liability that could detract from the cerebral, intellectual, and aesthetic experience of the canvas, artists today are creating frames that attempt to pull us back into bodily reality, a haptic experience of art. In her essay, she looks both at the history of framing styles, and talks to a number of contemporary painters to figure out what is causing so many to treat something that was literally considered peripheral to what they do as very much part of the main attraction. This week she joins art critic Ben Davis on the podcast to discuss this new frontier in art.

In this captivating conversation, Chris Kraus, a renowned novelist and art writer, explores her journey from art criticism to true crime storytelling. She discusses how her new novel mirrors her own life, diving deep into class dynamics and personal struggles. Kraus reflects on the influence of Jill Johnston and the challenges of language in modern communication. She also shares her extensive research into underclass America and critiques social media's bullying culture, all while defending artists' financial realities and candid narratives.

Andrew Russeth, Artnet Pro editor and art critic, joins the hosts to dissect a tumultuous year in the art world. They explore the rollercoaster art market, with gallery closures and a surprising turnaround during New York's fall auctions. The conversation dives into how the political landscape shifted funding and governance, while raising questions about the art world's post-woke phase. Notably, they discuss the rise of 'red chip' art, new generational collectors, and significant institutional transformations shaping the future.

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 has returned this year with The Daily Artist’s Way, offering a new way in for fans. Cameron agreed to speak to national critic Ben Davis to revisit the origins of her famous method and how she’s tweaking it now in this new book.

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 change is bound to have stories to tell. Elaine Sciolino, contributing writer and former Paris bureau chief for the New York Times, has captured many of these stories in her newest book, Adventures in the Louvre: How to Fall in Love with the World’s Greatest Museum, which came out in April with Norton & Company. Sciolino is acclaimed for her chronicles of French history, and she’s the author of the New York Times bestseller The Only Street in Paris, The Seine, and La Seduction. And at the Louvre, she spoke to everyone, from the guards to the lead curators, and received unprecedented access to rooms I didn’t even know existed. Senior editor Kate Brown caught up with Elaine, who is based in Paris, to discuss the enigmatic and ever-enchanting Louvre, and what she learned from her exploration of its many halls, backrooms, and basements.

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 transformation and continuity in the art world and art industry. We talk about what’s changed, what hasn’t, and what keeps art interesting, even as the market has grown more absurd.

Alison M. Gingeras, a curator and art historian who recently organized The Woman Question exhibition at the Museum of Modern Art in Warsaw, delves into the historical and contemporary landscape of women artists. She explores the origins of the 'woman question' from Christine de Pizan to the self-portraits of artists like Artemisia Gentileschi. Alison discusses forgotten female artists and the evolving dynamics of all-women exhibitions, while emphasizing the importance of inclusivity and the continuous narrative of women in art.

Chika Okeke-Agulu, an art historian and Princeton professor, dives into the rich landscape of Nigerian modernism. He reveals how artists navigated the turbulence of postcolonial identity through innovative styles. From Aina Onabolu's tension with European realism to Uche Okeke's theory of natural synthesis, the conversation explores the revival of ancestral forms in contemporary art. Chika also addresses the impact of the Civil War on artistic expression, highlighting powerful works that emerged from this challenging period.

Jo Lawson-Tancred, an Artnet European news reporter, joins to dissect the $102 million heist at the Louvre, exposing security gaps and the thieves' questionable tactics. She also shares insights from Art Basel Paris and Frieze London, noting a tentative market recovery and Paris's rising influence. Plus, they dive into the Sora 2 AI app, debating whether it boosts or compromises video art. Lawson-Tancred raises concerns about AI's impact on creativity while hoping it reignites appreciation for human craftsmanship.

Jeanette Andrews, a former professional magician turned artist, captivates with her unique blend of magic and contemporary art. She explores how magic can express complex concepts rather than merely entertain. Andrews discusses her groundbreaking projects that intertwine the science of perception with illusion, including performances that challenge viewers' expectations. She reveals her work inspired by CIA spycraft, highlighting magic's role in manipulating attention and belief. Andrews proves that magic can find a vital place in museums, inviting us to rethink its significance.