The Art Angle

We're back this week with The Roundup, where we dissect some of the biggest headlines that have been causing a stir over the last weeks in the art world and beyond. This week, Europe editor Kate Brown is joined by International art critic Ben Davis and Wet Paint gossip columnist Annie Armstrong to discuss three headline-making stories.At the top of the list is the very dramatic goings on at the British Museum in London, where a curator is under investigation for stealing what might be somewhere around 2,000 objects from the collection and the ripple effect its had on the international art community stretching from China to Africa, and ultimately resulted in the stunning resignation of director Hartwig Fischer.Next up is a conversation about an intriguing development in the United States court system, where a computer scientist made a bid to secure a copyright registration for an artwork that was made by A.I. that has been summarily been shot down. Finally, on a lighter note, the trio heads over to the tony enclave of the Hamptons to Montauk, a typically quiet town that's in the midst of an art world dust up. A turf war involving Andy Warhol's former estate and a physical altercation between two art dealers, Max Levai and Adam Lindemann, that has proved to be one of the juiciest stories of the season.

Exploring the challenges and significance of conserving contemporary art forms that utilize technology, the podcast discusses preserving new media art, the difficulties it brings, and the impact of technological advancements on artworks. It raises the question of whether new media art should be allowed to 'die out' or preserved as it naturally evolves, highlighting the need for constant adaptation by conservators.

The podcast discusses the decline in high-value auction sales, the overall decrease in the fine art auction market, and the impact on the ultra contemporary art sector. It explores the changing dynamics of the art market, the financialization of the industry, and the influence of auction houses. The podcast also touches upon the manipulation of auction results, provides a forecast for the art market, and offers advice to newer collectors. It emphasizes the importance of balancing investment with a genuine love for art.

In John Hughes's classic 1986 film Ferris Bueller's Day Off, the cohort of truant teenagers make a visit to the Art Institute of Chicago, and spend some time with the classic painting by George Seurat, titled Sunday Afternoon on the Island of La Grande Jatte. One one of the most famous artworks in the world even before that star turn, it has been studied and referenced and riffed on endlessly, and is in fact the subject of at least one musical, and a whole host of academic articles.Painted in 1884 when Seurat was just 27 years old in his self-created pointillist style, the large canvas depicts an idle summer afternoon on an island in the middle of the river Seine, with multiple fashionably dressed figures glimpsed out and about enjoying a day of socializing and relaxing by the water.Artnet's Katie White is the creator and frequent scribe of a popular art history column for the site called "Three Things," where she revisits well-known works of art and offers new ways to look at them. Her article on Seurat's La Grande Jatte has been one of the most popular editions of that column, where she dives into the research about the painting's inspirations and explores some of the unexpected debates about the meaning of this classic image of summer leisure.As we near the end of the summer season, we thought we'd all take a small (virtual) vacation from the news churn, and take a day trip to visit a favorite work of art from the past. This week, Katie speaks to Artnet's chief art critic Ben Davis about this celebrated work of art.

Despite being among the most-celebrated surrealists of the last century, British born artist Leonora Carrington is still overlooked as compared to her male counterparts, some of whom were close friends and collaborators. One surrealist was even her husband for a time—the famous painter Max Ernst.But over the years, more and more people are coming to know Carrington's work. The 2022 Venice Biennale was named after one of her books, titled The Milk of Dreams, about which curator Cecilia Alemani said "it describes a magical world where life is constantly re-envisioned through the prism of the imagination, and where everyone can change, be transformed, and become something or someone else."This kind of a liberated self was a cornerstone of Carrington's outlook on the world and a key to understanding the fascinating images she created. Her life story is one of world building. Dissatisfied with her well-to-do family's vision for her future, Carrington sought freedom through boundary-pushing art.After being kicked out of schools she eventually fell in with the Surrealists in Paris in the 1930s, who shared her thinking about art making and also how to live. But a dark era was dawning in Europe, and ultimately Carrington ended up in a mental asylum where she underwent a brutal treatment.And so she left Europe, her family, and everything behind her, and eventually landed in Mexico, where she found the liberation that she was searching for. She'd spend the rest of her days there, and she would become a national treasure. In many ways, she never looked back.If you look at Carrington's paintings, there is a constant haunting from both her youth and the rooms, spaces, and landscapes of Europe. Though totally estranged for decades from her family in Europe, one day, a family member came knocking on her door. It was a cousin, Joanna Moorhead, who had heard by chance of Carrington and went to tracke her down in Mexico City.Moorhead, a journalist whose writing has appeared in The Guardian and The Observer, among other titles, came to know Carrington very well over long nights and days of talking, and she wrote a book in 2017 called The Surreal Life of Leonora Carrington that chronicles her relationship with her cousin and her cousin's life and achievements in art.Moorhead has returned in more ways than one to Carrington's world since the artist died in 2011. Her newest book, out on August 22nd, delves into those spaces that defined Carrington's life and her paintings. Called Surreal Spaces, The Life and Art of Leonora Carrington, the book is a result of Moore's careful study of Carrington's intricate works.This week on the podcast, Europe editor Kate Brown speaks to Joanna about the places that formed and informed the work of such an important artist.

It used to be that the art news slowed down in the summer months, but these days, it seems like the art news never takes a break. So we're trying something a little different this week.With so much going on, instead of interviewing just one person for the podcast, we have three of our best writer-editors together to chat about some of the stories that have been in the air in July. This week, Artnet News global art critic Ben Davis speaks to Europe editor Kate Brown and business editor Tim Schneider about three stories.The first item is the news that Frieze, the international art fair chain, has acquired New York's flagship fair Armory Show and Expo Chicago, and what that means for the state of the art market. The second item covers recent developments in the world of NFTs, including a drop from the Jackson Pollock Studio that sold out within the first few hours, and Melania Trump's skirmish with NASA about some space-themed NFTs, plus the state of crypto in the art world at large. Finally, the trio discuss how artists have dealt with Barbie in the past, as a subject of inspiration and satire, and the release of both Greta Gerwig's film based on the Mattel doll and Christopher Nolan's opus on Robert Oppenheimer are filtering through the culture—and which side the art world comes down on in the big Barbie versus Oppenheimer face off.

It’s every art lovers dream. To be alone, after hours, inside one of the world’s most august art museums. Away from the throngs of selfie-stick-wielding tourists and the din of the crowd, it’s just you and the masterpieces.That dream was a reality for the ten years that author Patrick Bringley spent as a guard at the Metropolitan Museum of Art, and he’s sharing that experience (and a lot more) in his new book. Titled All The Beauty In The World (The Metropolitan Museum and Me), the book chronicles the daily realities of working at one of the most popular and busiest institutions in the world, and is also a deeply personal story and love letter to the Met.From getting to know virtually every corner of the sprawling institution, having a front-row seat to the installation and display of the world’s premiere art collection, to learning to identify and commune with all types of visitors, and forging relationships with the tribe of fellow blue-suited guards he came to know and love.This week on the podcast, Bringley speaks candidly with senior market reporter Eileen Kinsella about how his time at the museum intertwined with his personal life, starting with the tragic loss of older brother to cancer, and ultimately finding love and starting a family, all against the backdrop of his second home at the museum.

The company’s origins are the stuff of legend. A scrappy band of Santa Fe artists with a penchant for building fantastical installations from mounds of trash each write down random words on slips of paper. They draw two from a hat, thus christening themselves Meow Wolf. That was 15 years ago.This weekend marks the opening of the fourth permanent Meow Wolf exhibition, located at the Grapevine Mills shopping mall outside Dallas, Texas. Featuring a story conceived by Wisconsin sci-fi and fantasy author LaShawn Wanak, and work by 30 Texas artists who collaborated with in the in-house artist team, "The Real Unreal," as the exhibition is titled, transforms a former Bed Bath and Beyond into an expansive art playground.Like the House of Eternal Return, Meow Wolf’s first permanent location, the new exhibition appears to begin in the real world, in an ordinary suburban house—but the mundane trappings of family life quickly give way to the strange and unfamiliar, the boundaries between reality and fantasy blurring and disappearing.Since the 2016 opening in Santa Fe, Meow Wolf has amassed a devoted following for its interactive, immersive exhibitions, which use art to open portals into unknown realms. Obsessive fans have taken to Reddit to unravel all the secrets of the Meow Wolf universe. The Real Unreal is the company’s first step in tying together the disparate sites and their inter-dimensional narratives in a more readily apparent way.And while you still may not have heard of Meow Wolf, the company is poised for even more explosive growth. Under the guidance of CEO Jose Tolosa, who came over from Viacom in 2022, the punk art collective-turned art and entertainment production company has plans to bring its spectacular artistic vision to a city near you, and to create new ways for you to engage with its unique, otherworldly storyline from the comfort of your own home. What started out as a crazy art funhouse, fueled by maker culture, has struck upon a business model that is primed to become an entertainment juggernaut.Ahead of the public opening in Grapevine, Artnet News senior writer Sarah Cascone spoke with Tolosa not only about the company’s epic, world-building ambitions, but about staying true to its roots. So forget about the metaverse—Meow Wolf’s handmade universe, at once artisanal and high-tech, is about to blow your mind.

Just about everyone who works in the New York art world knows Lisa Schiff, an art advisor to the rich and famous who worked with celebrities like Leonardo DiCaprio for many years. She was a highly visible presence at art fairs, on museum boards, and generally around town, running her glamorous boutique firm from a first floor gallery space in Tribeca whose entry wall was covered with a memorable floor to ceiling plant installation.So media savvy that she had a PR firm on retainer, Schiff was frequently quoted as an expert in the art press, and she had longstanding relationships with journalists in town, including here at Artnet News, where she even wrote an op-ed last summer on the scourge of "meme art." That's why it came as such a shock to a lot of us this past May when a lawsuit dropped accusing her of essentially using her advisory firm to run a pretty extravagant Ponzi scheme.So what exactly happened with Lisa Schiff? What is she accused of doing, and where do things stand today? This week, Artnet News's ace market reporter Eileen Kinsella dives into the saga.

This year marks the 50th anniversary of the death of Pablo Picasso. To mark the occasion, an international event called Picasso Celebration has been organized, with 50 museums throughout the world running 50 different shows looking at the legacy of Picasso, among the most well-known artists of the 20th century.Certainly the most unusual and most talked about of these is not a “celebration” of Picasso at all. The Brooklyn Museum is hosting “It’s Pablo-matic: Picasso According to Hannah Gadsby.” Brooklyn Museum curators Catherine Morris and Lisa Small have worked with the famous Australian stand-up comedian Hannah Gadsby to create an art show that takes its cues from Gadsby’s 2018 blockbuster Netflix comedy special Nanette.That show was, among other things, a blistering argument about the sexism of art history, the art industry, and, specifically, of Picasso.“It’s Pablo-matic” has itself been at the center of a wave of criticism in recent weeks. Rachel Corbett, Artnet's deputy editor, speaks to Ben Davis, Artnet’s national art critic, who wrote a long essay about the show, the reaction to the show, and what both mean for the site.