The Art Angle

At the start of December, the Art Angle team had other, loftier ideas for the show's first Christmas episode. Maybe we would dig into the most important developments in the art world this past year or examine the growing pro-democracy protests in Hong Kong and their effect on the city's cultural community. But then, we lived through this year's edition of Art Basel Miami Beach, where superstar Italian artist Maurizio Cattelan duct-taped an ordinary supermarket banana to the wall of his gallery's booth at the fair, declared it an artwork, and priced its first edition at the eyebrow-raising sum of $120,000. From there, all hell broke loose. And after the astonishing sequence of events catapulted Comedian (the work's official title) beyond the art world and squarely into the center of pop culture, it became a stone-cold guarantee that, if your job has something—anything—to do with art, the banana will be one of the first topics of conversation your friends and extended family bring up during your holiday celebration. So we caved to the inevitable and made this episode your banana survival guide, covering everything you need to know about this (in)famous artwork in just over 20 minutes. First, Artnet News senior writer Sarah Cascone, who broke the story of the banana's initial sales from the floor of Art Basel Miami Beach, charts how this once-anonymous fruit duct-taped to the wall became an obsession for the world at large. Then, Artnet News national art critic Ben Davis parachutes in to explain what it all means in the context of art history, and why, as a sculpture, Comedian is both slightly more—and much, much less—than meets the eye.

Six decades ago, an editor at Newsweek magazine summoned a young journalist named Calvin Tomkins out of the foreign-news department to interview the legendary conceptual artist Marcel Duchamp, who had allegedly left art-making in favor of playing chess and... simply breathing. Although it would be years before Tomkins discovered Duchamp had in fact already been at work on his magnum opus, Étant Donnés, for years before their first meeting, this chance encounter altered the trajectory of his career and life. Duchamp was the gateway to what would become a prolific collection of artists—many of them eccentric or otherwise challenging, all of them great (or at least noteworthy)—that Tomkins went on to profile in the pages of the New Yorker beginning in 1962. Dozens of those profiles have now been compiled into a lavish new multi-volume set, titled The Lives of Artists, published by Phaidon. The collection joins 18 other books that Tomkins has previously published on artists and the art world, including an essential biography of the man who started it all for him: Marcel Duchamp. In the process, Tomkins has arguably become known as the world's authority on not only many of the most consequential postwar and contemporary artists in the canon, but also on the art of profiling itself. To celebrate the release of The Lives of Artists, Tomkins joined Artnet News editor-in-chief Andrew Goldstein in studio to discuss his one-of-a-kind journey, what David Hammons shares with Duchamp, and even the editioned banana that took over the world, AKA Maurizio Cattelan's Comedian.

For our latest episode, team Art Angle traveled to Art Basel Miami Beach to examine a much thornier and more urgent issue than the glamorous trade show's business: the art world's impact on Mother Earth. From thousands of deep-pocketed collectors flying in to south Florida for the week's festivities, to the hundreds of black cars and Ubers ferrying attendees from event to event, to the (literal) tons of artworks shipped by air, land, and sea to Miami's convention centers for a scant five days of exposure, the ecologically punishing realities of the art fair demand that we take a hard look at their sustainability for the planet—and ask bigger questions about the art world's responsibility to address the climate crisis. The need for action only intensifies in light of the fact that Art Basel Miami Beach is just one of nearly 300 art fairs held around the globe every year, and that many of these events take place in the coastal destinations most imperiled by climate change. Art Basel Miami Beach is held just a few blocks from the waterfront where the sea level has tripled over the past decade, causing the city to ship in imported sand to keep its coastline from disappearing entirely. And this is just a prelude of things to come in other crucial art hubs like Hong Kong, London, New York, and Los Angeles. Given the art world's cherished progressive reputation, how long can it justify the extraordinarily outsize habits of its fairs, institutions, and jet-setting elites? In what ways could the various players in the global art market minimize the damage they do to Mother Nature? And how are artists, as well as climate-activist groups like Extinction Rebellion, foregrounding the need for change in the cultural sphere? In the middle of Miami Art Week, Artnet News's European editor Kate Brown joined Andrew Goldstein by phone from Germany to tackle these urgent questions, and more.

This week, what seems like the entire art industry, every luxury company, and every celebrity or status-seeker available will be traveling to south Florida for the 18th edition of Art Basel Miami Beach, the final stop on the annual art-market calendar—as well as a champagne-soaked playground for the rich and famous. And while people love to complain about this particular fair, Art Basel matters to the art business in an enormous, almost existential way. Since its founding in 1970, Art Basel has evolved from a bespoke trade fair for German-speaking art collectors near its namesake Swiss city into a commercial Colossus linking Europe, Asia, and the Americas via three supersized fairs. Each event doesn't only draw buyers and sellers of art who regularly transact in the millions of dollars, or even just the broader constellation of curators, journalists, and art lovers. It has also become a beacon for almost anyone hoping to ride the cultural wave that is contemporary art and its clientele, from major corporations to micro-influencers. And in its wake, literally hundreds of other art fairs have risen up around the world hoping to do something similar. But have Art Basel and its competitors done more to help the art world, or to hurt it? How have trade fairs warped the way we value artists and their work? And if big fairs have become a big business, why are so many starting to either branch out... or die off? Just in time for Art Basel Miami Beach 2019, Artnet News executive editor Julia Halperin weighs in on the past, present, and future of art fairs.

The 90-year-old Japanese artist Yayoi Kusama is an international sensation. Exhibitions featuring her ongoing series of “Infinity Mirrored Rooms” consistently draw tens, if not hundreds, of thousands of visitors from all walks of life, with many enduring multiple-hour wait times for the opportunity to spend as little as a single minute inside the installations (and almost undoubtedly using much of that hard-won time to snap an obligatory selfie).  Now, the Kusama phenomenon is electrifying New York once again this holiday season—and at an unprecedented new scale. David Zwirner is currently in the midst of “Every Day I Pray for Love,” a solo show by the artist that has been magnetizing nearly 2,000 visitors a day to its West 20th Street gallery in Chelsea. And later this week, Kusama’s work will be beamed to an estimated 23 million viewers around the globe in the form of a monumental artist-designed hot-air balloon that will soar through the streets of Manhattan as a part of the Macy’s Thanksgiving Day Parade.  Yet such widespread popularity seems even more incredible to the much smaller group of aficionados familiar with Kusama’s artistic and personal trials, as well as the often challenging, even unsettling, themes under the Instagram-friendly surface of her works.  So how did a career that began with guerrilla performances and protest pieces wind its way through voluntary commitment to a psychiatric facility and crescendo in family-friendly social-media ubiquity? Artnet News national art critic Ben Davis unwinds the unlikely history and undeniable resonance of Kusama’s groundbreaking practice.

Normally, the week following Art Basel in June sees the art market begin its downshift into the summer doldrums. But this year, on what nearly everyone expected to be a quiet Monday, the usual cycle was disrupted by a breaking-news earthquake: Sotheby's, the world's oldest auction house, had struck a deal in principle to be acquired for $3.7 billion by a mysterious telecom magnate named Patrick Drahi. Even more jarring than Drahi's status as a largely unknown quantity in the art world was the announcement that he planned to return Sotheby's, which had been publicly traded on the New York Stock Exchange for the previous 31 years, to private control. News of the deal triggered an avalanche of questions among art-world observers: Who exactly was Drahi, as a man, an entrepreneur, and a patron of the arts? What did his entrance portend for CEO Tad Smith and the rest of the house's existing leadership structure? What would it mean for the market to lose access to the detailed financial information that Sotheby's was required to regularly disclose to the public by Uncle Sam? And what were the larger implications for the art industry overall? Roughly five months later, Drahi's acquisition of Sotheby's is official, and an elite group of his trusted confidantes can now be found in the house's C-suite. But with so many big changes still so fresh—and with so many questions still left to be answered—Artnet News art business editor Tim Schneider came on the Art Angle to make sense of this seismic event in auction history.

Hans Neuendorf had already built a storied career as an art dealer by the late 1980s, helping to bring Pop art from the United States to Germany, co-founding the first-ever art fair (Art Cologne), and putting his resources behind homegrown star-to-be Georg Baselitz when the artist was still roundly dismissed.  But nothing Neuendorf did earlier changed the art market as drastically or irreversibly as when he founded Artnet in 1989, on the belief that a shared database of the prices achieved by artworks at auction would bring transparency and newfound efficiency to the opaque, antiquated art market. Today, as we know, the once-quaint art business has evolved into a global art industry. Even as purists continue to cry out that any thought toward money destroys the bridge art can build to transcendence, data-driven art flippers chase astronomical returns on investment, as if paintings were just a prettier asset class—and none of it would have been possible without Artnet’s data.  Is this what Neuendorf had in mind? And either way, how have the past three decades at the helm of Artnet altered his viewpoint on where the art market might go in the next 30 years? Artnet News editor-in-chief Andrew Goldstein sat down with Neuendorf to find out these answers and much more.

Already one of the world's most renowned and visible artists, Anish Kapoor is entering new territory by opening multiple major exhibitions on opposite ends of the Earth within a few weeks of each other this fall. On October 25, he debuted twin shows of new work at Lisson Gallery's two spaces in New York. And on November 10, he unveils a significant solo exhibition split between Beijing's Central Academy of Fine Arts and the Taimiao Art Museum of the Imperial Ancestral Temple, making him only the second non-Chinese artist to show at the threshold of the Forbidden City. In the midst of this historic whirlwind, Artnet News editor-in-chief Andrew Goldstein sat down with Kapoor inside Lisson's New York headquarters to discuss his newest perception-defying sculptures, the relationship between his activism for human rights and his decision to exhibit in the heart of China, and the ongoing controversy around his work with "the blackest material in the universe," Vantablack.  Special thanks to Lisson Gallery for hosting this episode of the Art Angle.

To mark the 500th anniversary of Leonardo da Vinci's death, the Louvre pulled out all the stops to present a blockbuster exhibition of some of the Old Master's greatest works, along with a few technological surprises to help viewers see his contributions in a whole new way. But do these moves manage to contextualize Leonardo in our contemporary moment? And what role is—or isn't—played by Salvator Mundi, the painting sold at Christie's for a record-annihilating $450.3 million before disappearing from view for almost two years? Associate editor Naomi Rea phones host Andrew Goldstein to discuss the masterpieces on view, the Louvre's attempt to take Leonardo into virtual reality, and the seemingly never-ending intrigue around Salvator Mundi.

After over $400 million in renovations and a multiple-month closure to the public, the Museum of Modern Art is back. National art critic Ben Davis sits down with host Andrew Goldstein to address the curators' attempts to decenter the Western canon, what the changes might mean for MoMA's hordes of tourists, and whether a museum this hallowed can ever be a sanctuary from the larger cultural conversation.