The Art Angle

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.

Andrew Adams, a seasoned prosecutor with a focus on art-related financial crimes, shares insights on the dramatic capture of dealer Inigo Philbrick in Vanuatu. He discusses the DOJ and FBI's unique approaches to investigating art fraud, including the importance of financial trails and victim tips. As Philbrick faces charges for a staggering $86 million fraud, the conversation dives into the repercussions of his actions and whether he could ever regain his place in the art world. The episode illuminates the evolving landscape of money laundering in the art industry.

Nicole Coolidge Rousmaniere, a curator specializing in Japanese art and manga, discusses her latest project, the Art of Manga exhibition at the De Young Museum. She delves into manga's intriguing historical roots, linking it to Japanese art, and explores its rise in museums today. Nicole shares anecdotes about commissioning works at the British Museum and the significant impact of the 2019 exhibition. She highlights how manga, defined by its unique visual language, can connect modern audiences through its compelling storytelling and artistic expression.

Art World Infamy is a special series from the team behind The Art Angle, investigating the scandals and schemes that have rocked the art world. In the first chapter, told over four episodes, senior market reporter Eileen Kinsella unravels the rise and fall of dealer Inigo Philbrick.   After a bombshell $13 million lawsuit from angry collectors, Inigo Philbrick vanished. What followed was a cascade of international claims from clients who had entrusted him with millions, drawn in by his supposed Midas touch in the art market. From art fairs to gallery openings to gala dinners, the question on everyone’s lips was the same: Where’s Inigo? In this third episode, we examine the fallout from Philbrick’s fraudulent deals, and the frenzy that erupted in the art world after his sudden disappearance.