Podcasts about Art market

In this week's episode of the ArtTactic Podcast, host Adam Green speaks with Will Jarvis, Founder and CEO of Gertrude, a contemporary art platform and mobile app that directly connects emerging and independent artists with art buyers, and co-founder of the London gallery The Sunday Painter. Will discusses how Gertrude works, why he believes the current art world landscape has created opportunities for new models, and how the platform aims to support artists who may not have traditional gallery representation. He also shares his perspective on the challenges facing younger galleries, smaller galleries, and rising artists, as well as the barriers that can prevent new collectors from entering the art market. Together, Adam and Will explore what it would take for the art world to become more open and accessible, and how platforms like Gertrude can provide collectors with access, context, and confidence while helping artists build visibility and sustainable careers.

For the 46th episode of Reading the Art World, host Megan Fox Kelly speaks with Georgina Adam, editor-at-large of The Art Newspaper, about her new book NextGen Collectors and the Art Market, published by Lund Humphries in association with Sotheby's Institute of Art.Adam argues that the generational shift now underway is different from those that came before it—not just in scale, but in kind. Younger collectors grew up online, which has reshaped how they discover and evaluate art, who influences their taste, and what they're willing to buy. Their conversation covers the collapse of traditional connoisseurship, the geographic expansion of the collector base into China, India, and the Middle East, and whether galleries, auction houses, and museums are adapting fast enough to a generation that collects very differently from the one before it.ABOUT THE AUTHORGeorgina Adam is the former Art Market editor of The Art Newspaper, where she is now editor-at-large. She is a contributor to the Financial Times Life & Arts Section, lectures at Sotheby's and Christie's institutes in London and regularly participates in panels about the art market.PURCHASE THE BOOKhttps://www.lundhumphries.com/products/nextgen-collectors-and-the-art-marketPARTNERThis episode is sponsored by Neuberger Wealth, a firm with a founding story at the intersection of investing and the arts. Neuberger Wealth provides individuals, families and their charitable organizations with comprehensive wealth management solutions, from investments across public and private markets to wealth and estate planning, fiduciary services, and philanthropic and family governance advisory. With the experience that only comes from advising across generations, they understand that the most meaningful financial lives are built around purpose. Learn more at neubergerwealth.com.SUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a podcast featuring live interviews with leading authors and writers on important new art books. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

https://soundcloud.com/rene-de-paula-jr/o-jesus-grego-que-nao-deu “The Connection To My Mother” – David Letterman's Fondest Recollection About His “Late Show” https://youtu.be/Mkv-bFvQ3Ow?si=_8PByIoT7hsi4Mi6 Mark Rothko https://en.wikipedia.org/wiki/Mark_Rothko Christie's $1.1 Billion Night Signals a Stunning Rebound for the Art Market https://news.artnet.com/market/christies-1-1-billion-sales-by-the-numbers-2774455 $1.1 Billion Christie's Auctions Shatter Records for Pollock, Brancusi, Rothko https://news.artnet.com/market/pollock-brancusi-newhouse-christies-record-2774133 O ‘Jesus grego’ que foi cancelado pelo cristianismo https://www.bbc.com/portuguese/articles/cde5e07lyrko a app do radinho!!!    http://radinhodepilha.com/radinho  canal do radinho no telegram:   http://t.me/radinhodepilha meu perfil no Threads: https://www.threads.net/@renedepaulajr meu perfil no BlueSky https://bsky.app/profile/renedepaula.bsky.social meu twitter http://twitter.com/renedepaula aqui está o link para a caneca no Colab55:  https://www.colab55.com/@rene/mugs/caneca-rarissima  para xs raríssimxs internacionais, aqui está nossa caneca no Zazzle: https://www.zazzle.com/radinhos_anniversary_mug-168129613992374138 minha lojinha no Colab55 (posters, camisetas, adesivos, sacolas):  http://bit.ly/renecolab meu livro novo na lojinha!  blue notes https://www.ko-fi.com/s/550d7d5e22 meu livro solo https://www.ko-fi.com/s/0f990d61c7  o adesivo do radinho!!!   http://bit.ly/rarissimos  minha lojinha no ko-fi: https://ko-fi.com/renedepaula/shop muito obrigado pelos cafés!!!  http://ko-fi.com/renedepaula

Dan needs help navigating through the stress of preparing for his first Art Market. Mike needs help with getting over burnout. It's amazing how simple the solutions can be.Have an idea for a new challenge? A subject you would like to see covered on the show? Let us know in the comments!Join our DISCORD:discord.gg/p5S3nPCvGbTo Find Mike:holdtherobot.com/blogyoutube.com/channel/UCNBiLBQrKrnvwcVRD5fS8aATo Find Dan:figure8world.comyoutube.com/@danielnewartinstagram.com/danielnewart

After a pandemic-era boom, the fine art market is going through something of a bust. Many galleries have closed due to climbing overhead costs and sales just aren't what they used to be. Author and freelance journalist Julie Belcove joins Kimberly to demystify the inner workings of the global art market and what a slump could mean for the those who work in the arts.

After a pandemic-era boom, the fine art market is going through something of a bust. Many galleries have closed due to climbing overhead costs and sales just aren't what they used to be. Author and freelance journalist Julie Belcove joins Kimberly to demystify the inner workings of the global art market and what a slump could mean for the those who work in the arts.

State of the Arts Episode 284: The Mother's Day Special is now available on Spotify. Rebecca Dunn, a talented watercolor and abstract painter, is not only a passionate advocate for the arts and a dedicated educator, she is also the devoted mother of an active, young child. As the curator of Artscene CTNY, she is now bringing her creative vision to The Danbury Fair Mall in Connecticut in the near future with her inaugural Art Market. My dynamic return guest, whose artwork masterfully reveals the intricate beauty of nature, has had her works showcased in esteemed galleries in the Connecticut and New York areas. Her art transcends limitations, inviting viewers to connect with the natural world on a profound level. I'm thrilled to welcome this remarkable artist back to my podcast for another episode as we share an inspiring, captivating and engaging conversation.

Marion Maneker joins Peter to discuss the art market's resurgence after years in the doldrums, driven by a wave of significant collections hitting the auction block. Marion explains why the ultra-wealthy seem remarkably unbothered by tariffs, geopolitical turmoil, and everything else rattling the broader economy—and what it all portends for the art market moving forward. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Welcome to episode #1034 of Thinking With Mitch Joel (formerly Six Pixels of Separation). At a time when the lines between culture, commerce and identity feel increasingly blurred, few people understand how value is actually constructed… and reconstructed… better than Douglas Woodham. A former President of the Americas at Christie's and a longtime advisor through his firm Art Fiduciary Advisors, Doug brings a rare dual lens to the conversation… equal parts economist and art obsessive. With a PhD in economics and decades spent inside the machinery of the global art market, he has seen firsthand how artists move from obscurity to icon status… and how markets, narratives and power structures shape that journey . His latest book, Jean-Michel Basquiat - The Making of an Icon, goes far beyond biography to examine how one artist's legacy was not just created… but carefully engineered. In this conversation, Doug explores the intersection of art and economics, unpacking how scarcity, status and human behavior drive the desire to collect… and why ownership has become increasingly performative in a social media age. He challenges the romantic notion that value is purely about the work itself, pointing instead to branding, cultural timing and strategic stewardship… particularly in Basquiat's posthumous rise. We also dig into the broader shifts reshaping the art world… from the declining cultural centrality of fine art to the rise of alternative collectibles, the failure of NFTs to gain traction in traditional markets, and the fragile economics behind fractional ownership models. What emerges is a sharper understanding that art is not just about beauty or expression… it is about markets, narratives and belief systems that determine what is worth owning… and why. Enjoy the conversation… Running time: 1:04:35. Hello from beautiful Montreal. Listen and subscribe over at Apple Podcasts. Listen and subscribe over at Spotify. Please visit and leave comments on the blog - Thinking With Mitch Joel. Feel free to connect to me directly on LinkedIn. Check out ThinkersOne. Here is my conversation with Douglas Woodham. Jean-Michel Basquiat - The Making of an Icon. Art Fiduciary Advisors. Art Collecting Today. Follow Doug on Instagram. Follow Doug on LinkedIn. Chapters: (00:00) - Introduction to Doug Woodham and His Expertise. (02:42) - The Life and Legacy of Jean-Michel Basquiat. (04:48) - Connecting Art and Economics. (08:45) - Human Behavior and the Desire for Collectibles. (12:10) - The Shift in Art Collecting Trends. (15:42) - NFTs and Their Impact on the Art Market. (20:29) - Artist Compensation and Ownership Rights. (24:28) - Cultural Relevance of Fine Art Today. (27:58) - The Psychology of Collecting and Scarcity. (32:37) - The Business of Scarcity in Consumer Brands. (35:15) - The Importance of Secondary Markets in Collectibles. (40:10) - The Evolution of Basquiat's Brand Posthumously. (54:51) - The Intersection of Art and Commercialization. (59:53) - Fractional Ownership in Art Investments.

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 auctioneer-turned dealer (rainmaker David Schrader) share their insights on the changing state of play in public salesrooms. And Margaret Carrigan, who helms The Back Room newsletter for Artnet Pro, marshals data to explain the state of play in the art industry. There is more: Here's the download link once more. On this week's Art Angle podcast, Kazakina sat down with Andrew Russeth, Artnet Pro's editor, to discuss private auctions, the Intelligence Report, and what to expect at the big May sales in New York.    

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 auctioneer-turned dealer (rainmaker David Schrader) share their insights on the changing state of play in public salesrooms. And Margaret Carrigan, who helms The Back Room newsletter for Artnet Pro, marshals data to explain the state of play in the art industry. There is more: Here's the download link once more. On this week's Art Angle podcast, Kazakina sat down with Andrew Russeth, Artnet Pro's editor, to discuss private auctions, the Intelligence Report, and what to expect at the big May sales in New York.    

On this week's episode of the ArtTactic Podcast, host Adam Green speaks with Valentina Castellani, adjunct professor at NYU Steinhardt and author of Trading Beauty: Art Market Histories from the Altar to the Gallery, Castellani challenges the long-held idea that art and money exist in separate worlds, tracing how commerce has shaped the production and circulation of art from the Middle Ages to the present day. The conversation explores influential figures such as the pioneering Impressionist dealer Paul Durand-Ruel and the legendary partnership of Leo Castelli and Ileana Sonnabend, while also examining Castellani's own experience working at Gagosian and organizing major historical exhibitions typically associated with museums. Together they discuss how the roles of galleries, museums, artists, and dealers have evolved over time and what the changing dynamics of representation, social media, and artist autonomy may mean for the future of the art market.

Faris McReynolds is a painter and musician whose practice engages directly with the structures of the contemporary art world. In this conversation, he reflects on his early entry into the gallery system, the financial realities of sustaining a painting practice, and the conditions that led him to step away from commercial representation. The discussion addresses how wealth, collectors, and market forces shape artistic visibility and value, alongside a critique of galleries, art fairs, and institutional power. McReynolds also considers the distinction between underground and unsuccessful practices, the influence of social media on artistic production, and the possibility of maintaining an independent, long-term commitment to making work outside dominant systems.

High-end art is attractive to money launderers because the market is opaque, illiquid by design, and driven by subjective valuations that are easy to manipulate. Buyers can hide beneficial ownership behind shell companies, trusts and intermediaries, buy works in private sales or through friendly galleries (avoiding the transparency of public auctions), and then re-sell or re-collateralize the pieces to convert illicit cash into apparently legitimate wealth. Criminals exploit briefcases of cash, friendly dealers, falsified provenance and inflated invoices to mask the origin of funds; they also use tactics like “wash” trades or reciprocal purchases between related collectors to inflate prices and justify large transfers that look like ordinary art commerce but are actually value-shifting schemes. Because many transactions are routed through offshore vehicles and art advisors who act as gatekeepers, tracing ultimate ownership and the money trail is often slow and difficult for investigators.Beyond simple purchases and sales, art can be used as collateral for loans, leased, or held in freeports and bonded warehouses where paperwork and customs oversight are limited—allowing assets to be moved or monetized while avoiding immediate scrutiny. Regulators and investigators have also documented cases where artworks were used to hide or re-domesticate funds tied to corruption, sanctions evasion, and organized crime: opaque sales are followed by loans or resale that produce clean bank records, or by transfers through jurisdictions with weak AML controls. That combination of subjective pricing, private dealing, offshore structures, and weak reporting obligations has prompted global watchdogs and lawmakers to press for tighter anti-money-laundering rules in the art market.to contact me:bobbycapucci@protonmail.com

In this episode of The Art Bystander, our host Roland-Philippe Kretzschmar is joined by Marc Spiegler, one of the key figures shaping the global art market over the past decade.Having led Art Basel from 2007 to 2022, he helped transform the fair from a marketplace into a global cultural platform—redefining how art is experienced, communicated, and sold. Today, Spiegler operates across a portfolio of cultural, strategic, and advisory initiatives at the intersection of art, business, and technology. He is co-founder of Art Market Minds, including the course AI & The Art Market, which explores how AI is beginning to reshape structures, behaviours, and opportunities across the industry. Alongside this, Spiegler is a Visiting Professor at Bocconi University, where he teaches cultural management and the impact of artificial intelligence on the art world, and serves as President of the Board of Directors of Superblue, as well as Chairman of the Advisory Board of the future UBS Digital Art Museum. Spiegler collaborates with the Luma Foundation, sits on the boards of the ArtTech Foundation and Art Explora Foundation, and advises companies including Prada Group, KEF, and Sanlorenzo on cultural strategy.In this conversation, we trace that full arc—from journalism to Art Basel to AMM—and what it reveals about the structural shifts shaping the art world today.Also mentioned in the episode New York Real Estate and the Ruin of American Art and Will AI Slop and Deep Fakes Kill Culture.Sign up to join AI & THE ART MARKETArtificial intelligence is rapidly redefining many industries. While there are parts of the Art Market to which it may never apply, it would be foolish to think that our industry won't be strongly impacted. This sprint course - designed and moderated by Marc Spiegler, and featuring experts from inside and outside the artworld - will examine where things stand now, where they're likely to go and how you can deploy artificial intelligence to the benefit of your art world activities.Discount code: TABAI15, and booking HERE. Hosted on Acast. See acast.com/privacy for more information.

In this episode, I take a closer look at the latest report — not just through the data, but through the conversations it triggered. After sharing several insights on LinkedIn, the response from artists, collectors and gallerists revealed a more complex picture of the art market today.While the report shows modest global growth, much of that momentum is concentrated at the very top. At the same time, discussions around auctions, the role of galleries, and especially gender dynamics highlight a growing gap between market data and lived experience.From improving representation of women artists in the primary market to persistent inequalities at the highest price levels, this episode explores what the numbers show — and what they don't.Drawing on both the report and real-world perspectives from the field, this is a reflection on a market that is not uniform, but layered — shaped by history at the top, and by change and experimentation further down.And yes — this episode is AI-voiced, so if the delivery sounds almost suspiciously composed, now you know why.

In this week's episode of the ArtTactic Podcast, host Adam Green speaks with Drew Watson, Managing Director and Head of Art Services at Bank of America, about the first-ever US Art Market Report produced in collaboration with ArtTactic. Together, they unpack how the report uniquely combines auction data with proprietary collector spending insights to offer a more complete picture of the art market. Drew explains why US auction sales surged 23.1% in 2025 despite broader perceptions of a downturn, and how both narratives can coexist. The conversation also explores New York's growing dominance, now accounting for nearly 70% of global auction sales, as well as the remarkable outperformance of women artists over the past decade. Finally, they look ahead to 2026, discussing the economic signals, from interest rates to wealth creation, that could shape the next phase of the art market.

Get the picture on the 10th edition of the annual benchmark analysis of the state of the global art market with its author, Clare McAndrew, as well as Art Basel CEO Noah Horowitz and Paul Donovan of UBS.See omnystudio.com/listener for privacy information.

The New Museum in New York opens its new extension, designed by Shohei Shigematsu and Rem Koolhaas of the architectural practice OMA, this week. Ben Luke talks to Massimiliano Gioni, the New Museum's artistic director, and the co-curator of the inaugural exhibition in the new building, called New Humans: Memories of the Future. We then speak to one of The Art Newspaper's editors-at-large, Georgina Adam, who has just published a new book NextGen Collectors and the Art Market. And this episode's Work of the Week is an example of a Wardian Case, a wooden box with a glass cover developed by the physician Nathaniel Bagshaw Ward in the early 1830s. This example is part of the exhibition In Bloom: How Plants Changed Our World, at the Ashmolean Museum in Oxford. Ben speaks to Shailendra Bhandare, co-curator of the exhibition.The New Museum and New Humans: Memories of the Future open on 21 March.NextGen Collectors and the Art Market, by Georgina Adam, Lund Humphries, £19.99In Bloom: How Plants Changed Our World, Ashmolean Museum, Oxford, 19 March-16 August Hosted on Acast. See acast.com/privacy for more information.

As the war in the Middle East continues to rage, Ben Luke speaks to The Art Newspaper's reporter on Iran and other countries in the region, Sarvy Geranpayeh, about the response of cultural communities in Iran and Lebanon, and the damage to heritage in both countries. The latest edition of the Art Basel and UBS Global Art Market Report has been published and shows that the market has returned to growth. But the details show a more complicated story, which Ben explores with the writer of the report, Clare McAndrew. And this episode's Work of the Week is VOLUME (III – White Bay Power Station, Australia) a new work by the Indigenous American artist Cannupa Hanska Luger. This sculpture and sound installation featuring seven ceramic dingo skulls is part of the latest edition of the Sydney Biennale in Australia, and has gained an unintended topicality due to a recent tragedy involving the death of a backpacker in Queensland. Ben speaks to our reporter in Australia, Elizabeth Fortescue, about the work and the wider context.Rememory: the 25th Biennale of Sydney, 14 March-14 JuneSave up to 50% on The Art Newspaper's annual print and digital package with a new limited-time offer. Subscribe by 19 March to receive the April edition including our annual Visitor Figures guide and a special report on EXPO Chicago. In May, don't miss our Venice Biennale Guide and map to must-see exhibitions and pavilions.www.theartnewspaper.com/subscriptions-MARCH50?promocode=MARCH50&utm_source=podcast&utm_campaign=MARCH50 Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Blockrunner Podcast, hosts William and I-man discuss the current struggles facing the crypto and art markets, highlighting the virality of recent tweets about art investments and the declining appetite for digital collectibles. They analyze the industry's challenges, the impact of historical NFT booms, and explore the culture of hoarding valuable digital and physical assets. The conversation delves into the evolving perception of digital personas, the future of Hollywood actors in an AI-driven world, and the potential for new media experiences like AAA quality films. This episode offers insights into the industry's sins, possible solutions, and the future outlook. Watch the full episode on YouTube: https://www.youtube.com/@TheBlockRunner. Subscribe to our newsletter at TheBlockRunner.com for more updates. Hosts: William and I-man bring industry perspective and engaging commentary on the fascinating shifts within crypto, art, and entertainment sectors.

In this week's episode of the ArtTactic Podcast, host Adam Green speaks with Angelle Siyang-Le, Director of Art Basel Hong Kong, ahead of the fair's 2026 edition opening on March 25. After a period of rapid growth during and immediately following the pandemic, the Chinese art market began to soften in 2021 alongside broader economic challenges. As the region prepares for its most important art market event of the year, Adam and Angelle discuss the current state of the market in China, whether signs of renewed confidence are emerging, and how Art Basel Hong Kong fits within an increasingly competitive landscape of art fairs across Asia. They also preview what to expect at this year's fair, including how galleries are feeling heading into the week, notable presentations to watch, and the Asia debut of Art Basel's digital art initiative, Zero 10.

SummaryTim Packer shares his inspiring journey from police officer to successful artist and educator, emphasizing the importance of growth mindset, mastering skills, and building a unique artistic voice. Discover practical insights on pricing, reputation, and turning passion into a thriving business.TakeawaysGrowth mindset and its impact on artistic developmentPricing strategies for artists and understanding valueThe importance of mastering foundational skills like drawing and compositionFinding and cultivating your unique artistic voiceThe role of reputation and brand in an artist's successBalancing artistic passion with business acumenChapters00:00 Tim Packer's Artistic Journey04:28 The Growth Mindset and Its Impact07:50 Transitioning from Police Work to Full-Time Artist10:40 Finding Artistic Voice and Passion13:44 Navigating the Art Market and Pricing Strategies16:50 Understanding Art Villages and Audience Perception19:45 The Importance of Unique Artistic Voice22:52 Reputation and Brand in the Art World31:01 Finding Your Artistic Voice34:18 The Importance of Process Mode36:48 Belief and the Art of Manifestation39:25 Mastering Skills for Success44:49 The Role of Influences in Art50:49 Niche vs. Exploration in Art54:24 The Business of Being an ArtistConnect with Tim: Website: https://www.timpackerartacademy.com/Get the book: https://amzn.to/4aR34IeCredits:Hosted by Ryan Roghaar & Mike SmithProduced by Ryan RoghaarTheme music: "Perfect Day" by OPM  The Eggs Podcast Spotify playlist:bit.ly/eggstunesThe Plugs:The Show: eggscast.com@eggshow on X and InstagramOn iTunes: itun.es/i6dX3pCOnStitcher: bit.ly/eggs_on_stitcherAlso available on Google Play Music!Mike "DJ Ontic": Shows and info: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠djontic.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@djontic on twitterRyan Roghaar:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠rogha.ar

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 concerning multiple women. In early February, David A. Ross, chair of the Master of Fine Arts in Art Practice at New York's School of Visual Arts, resigned after documents showed ties to Epstein. The files also shed additional light on the art holdings of the billionaire Leon Black and his dealings with Epstein. Black, who served as chairman of the board of trustees of the Museum of Modern Art in New York from 2018 to 2021, stepped down from that role after backlash over his financial ties to Epstein, though he remained on the board as a trustee. Black has faced civil lawsuits and allegations that he sexually assaulted women introduced to him through Epstein. Black has denied the claims, and no criminal charges have been filed. So we knew about Black and Epstein, to an extent. But my colleague, senior reporter Katya Kazakina, recently focused on how the latest documents illuminate Epstein's sophisticated use of financial structures to enhance the value of Black's vast art holdings—and just how much of his wealth was effectively stored in art. This enormous release is wide-ranging, touching people and industries far beyond the criminal sexual activity in which Epstein was involved. Because of its sheer breadth, it bears emphasizing that inclusion in the files does not imply criminal wrongdoing. More will come to light as journalists and the public sift through the documents.

What does it actually take to build a sustainable, global art career in 2026? As the market shifts away from the high-octane speculation of the early 2020s, a new era of radical transparency and artist autonomy is emerging. In this episode, host Ekaterina Popova sits down with visionary curator, collector, and entrepreneur Sonia Borrell to pull back the curtain on what the world's top collectors are looking for right now. Sonia shares the inspiration behind her newest venture, StudiotoGallery, a platform designed to dismantle traditional gatekeeping and return control to the creator. From the importance of "positioning over visibility" to navigating the rapid growth of the Chinese art market, this conversation is a masterclass in modern art business. Whether you're an emerging painter or an established professional, Sonia's insights offer a refreshing, high-level perspective on thriving in today's selective ecosystem. Inside the Conversation The 2026 Market Recalibration: Sonia discusses why "hype" pricing is falling away and how artists can re-emerge by focusing on authentic connections and sustainable growth. The Sovereign Artist: A look at the StudiotoGallery model, where artists maintain full control over their pricing, inventory, and gallery representation. The Power of Positioning: Why your "human filter" and professional presentation matter more to a museum or serious collector than a viral Instagram reel. Global Expansion: Sonia shares her experience bridging the gap between Western creators and major corporate partners and institutions in China. Sustainable Partnerships: How to identify a "human-centric" gallery and why the future of the art world relies on collaborative, shoulder-to-shoulder work. Protecting Your Practice: Practical advice on avoiding scammers, managing mental health in the studio, and staying positive during market shifts. About Sonia Borrell Sonia Borrell is a prominent art world connector, collector, and founder of Art Belina and StudiotoGallery. With deep roots in the international market, she specializes in helping artists scale their businesses through IP collaborations, museum placements, and high-level mentorship. Sonia is a pioneer in the movement toward a more transparent and educator-led art market, providing artists with the tools they need to lead their own careers. Connect with Our Guest Website: soniabblondon.com Platform: studiotogallery.com Resources for Artists Create! Magazine

2026春节假期的第二期旧番重听，我们来听一个看似高不可攀的生意。在2025年，艺术品（尤其是古董艺术品）生意背后的不堪一面被揭露出来，再次让人们意识到创作与商业之间纠缠不清的关系。如今的人们喜欢祛魅，但祛魅之后重新找到有趣的地方，是本节目更感兴趣的工作。艺术品是一个很特殊的商品，在历史的大多数时间里，它都不是一个商品，而在开始流通之后，它又长期限于一个极小的封闭圈子之内，信息不透明是这个市场的本质。但这一切在上世纪末本世纪初迅速改变，如今的艺术品市场已经迅速膨胀到每年数百亿美元的规模——当然，这只是公开交易的数据。但艺术品交易并非不可理解、高不可攀，它仍然遵循了基本的商业逻辑，很多地方甚至可以和股权交易市场类比。本期节目，我们就从艺术博览会这个本世纪迅速崛起的交易渠道入手，窥探一下隐秘而庞大的艺术品生意。| 主播 |肖文杰、约小亚| 资料整理 |李秋瑾| 时间轴 |00:38 隐秘而庞大02:38 艺术品何时成为商品04:03 艺术品市场迅速膨胀的两大变量08:51 艺术品交易和股权投资的类似之处10:48 拍卖行的担保模式和水涨船高的艺术品价格14:13 画廊是艺术品交易的核心角色15:37 艺博会和艺术展览有什么区别18:50 艺博会对画廊、藏家、城市有什么价值25:14 面对面为什么对艺术品那么重要26:06 艺术品交易，“叙事”的生意| 延伸资料 | Georgina Adam,《Big Bucks: The Explosion of the Art Market in the 21st Century》The Art Basel and UBS Survey of Global Collecting 2024第一财经周刊，《一件艺术品的商业历程》《第一财经》杂志，《年轻藏家涌入艺术品市场》肖小跑的播客《发现叙事》《商业就是这样》鼓起勇气开设听友群啦。欢迎添加节目同名微信，加入听友群，一起讨论有意思的商业现象。微信号：thatisbiz为了营造更好的讨论环境，我们准备了两个小问题，请在添加微信后回答：1，你最喜欢《商业就是这样》的哪期节目？为什么？2，你希望听到《商业就是这样》聊哪个话题？期待与你交流！| 后期制作 |秋秋| 声音设计 |刘三菜| 收听方式 |你可以通过小宇宙、苹果播客、Spotify、喜马拉雅、网易云音乐、QQ 音乐、荔枝、豆瓣等平台收听节目。| 认识我们 |微信公众号：第一财经 YiMagazine联系我们：thatisbiz@yicai.com

In this week's episode of the ArtTactic Podcast, host Adam Green takes a closer look at Art SG, one of the few major art fairs to kick off the global calendar each January, and examines how Singapore's art market continues to evolve within the broader Asian ecosystem. Joined by Vivienne Chow, London correspondent and co-author of The Asia Pivot for Artnet News, they discuss how this year's edition of the fair performed, the makeup of the exhibitor list, and what it reveals about shifting gallery strategies in Asia. The conversation also explores Singapore's growing role as a regional hub, the recent influx of wealth, and what these dynamics mean for collectors, galleries, and the future of the market in Southeast Asia.

In this week's episode of the ArtTactic Podcast, host Adam Green is joined by Tim Schneider, founder of The Gray Market. The conversation looks back at how Tim's 2025 art market predictions played out before turning to his newly released forecasts for 2026, including the persistence of what Tim calls “art market dysmorphia” as galleries simultaneously expand and contract, and why auction houses may generate far more revenue from categories like wine and spirits than from young contemporary art. Adam and Tim also discuss whether brands like Frieze or Art Basel could extend beyond the fair model into other sectors, as well as the growing possibility of US museums financially guaranteeing works at auction. The episode concludes with Adam and Tim each sharing a special ArtTactic Podcast exclusive prediction for the art market in 2026.

In this special end-of-year episode of the ArtTactic Podcast, host Adam Green is joined by Brian Boucher, senior market reporter at ARTnews, to unpack one of the most confounding years the art market has seen in recent memory. Building on Boucher's recent ARTnews article in which he described the year as “the year the art market stopped making sense,” the conversation explores the sharp contrasts between record-setting auction sales and softer performances elsewhere, the wildly different energy levels across major art fairs and what the wave of gallery closures might signal about deeper structural pressures in the gallery model. They also dig into the rise of increasingly fragmented micro-markets driven by individual artists and career stages, and why this makes it so difficult to draw broad conclusions about the market as a whole. The episode closes with a forward-looking discussion on how collectors, galleries, and auction houses are feeling as they head into 2026, and whether cautious optimism may finally be taking hold.

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

In this episode, Rick speaks with Drew Brosnan, CMO of Bluethumb, the largest art marketplace in Australia and a fast-growing global platform. Drew explains how Bluethumb replaces the traditional gallery experience by pairing deep artist storytelling with scalable digital trust. He breaks down the company's most effective acquisition channels, from dynamic social ads to metadata-driven personalization, and highlights why tight collaboration between product and marketing is essential for growth. Drew also shares how operational rituals, tech-stack discipline, and structured experimentation help Bluethumb improve customer journeys and prepare for global scale. Expect sharp insights on product-marketing alignment and the mechanics behind high-trust marketplaces.

As the CEO of Art Basel, Noah Horowitz has made it his mission to ensure that the international art platform is seen, valued, and experienced—far beyond its art-fair roots—as a cultural catalyst and “opportunity accelerator.” Over the past 55 years, beginning with its tight-knit origins in Basel, Switzerland, in 1970, Art Basel has evolved into an international juggernaut, with best-in-class fairs also in Miami Beach, Hong Kong, and Paris—and soon, under Horowitz's leadership, Qatar, with an edition debuting there in February 2026. With more than two decades of experience, and as a tireless advocate and enthusiast for all things art, from artists and galleries to collectors and institutions, Horowitz is exactly the right person for the job.On this episode of Time Sensitive, Horowitz details his ambitious agenda to stretch Art Basel's reach into realms far beyond what would traditionally be considered the art world; shares his long-view perspective on the economics of art; and considers the centuries-old history that, in a roundabout way, helped lead to—and continues to inform and shape—today's art market.Show notes: [05:13] Art Basel Paris[05:13] Art Basel Qatar[05:13] Art Basel Miami Beach[05:13] Art Basel Hong Kong[07:54] Frida Escobedo[10:41] The Art Basel and UBS 2025 Survey of Global Collecting[10:41] Art Basel Awards[21:27] Rei Naito[23:51] Art of the Deal: Contemporary Art in a Global Financial Market (2011)[27:42] Rirkrit Tiravanija[41:18] High Art Lite: The Rise and Fall of Young British Art (2020)[32:42] KAWS[39:04] Princeton Record Exchange[42:18] Frieze[42:52] Hans Ulrich Obrist[42:52] Okwui Enwezor[45:00] Rem Koolhaas[45:57] Kirk Varnedoe[45:57] Pictures of Nothing: Abstract Art Since Pollock (2006)[50:05] Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art (2005)[51:49] Clare McAndrew[54:42] The Experience Economy (2019)[58:43] Vincenzo de Bellis[1:03:04] Pérez Art Museum

We visit Basel Dalloul at the Dalloul Artist Collective to discuss the genesis of the Dalloul Art Foundation and the mission of the new artist collective. A technologist and lawyer by training, Basel shares his family's journey into collecting art and the vision his father had for a Pan-Arab art collection in Beirut. They discuss how Arabism failed politically, but that culturally, the art from the region shows a great deal of sync and kinship, with artists empathizing with their Arab brethren. Central to the discussion is the role of art as an archive of history. Basel highlights the importance of Arab art as a reference site and how connecting artists from Morocco to Iraq reveals common themes that some may find inconvenient to tell. The conversation then shifts to the need to decolonize the art world, critiquing the tendency to celebrate Western art and seek validation from Western curators. Basel challenges the routine belief that Arab artists or art professionals are "not competent or good enough". He also addresses the broken global gallery system, which often dictates terms to artists and unfairly takes up to 50% of an artist's take. The mission of the Dalloul Artist Collective is to shift focus from the art to the artist, acting as an artist management agency to empower and educate the artist community. 0:00 Introduction2:12 The Vision for the Dalloul Art Foundation: Pan-Arab Art3:36 Relationship to Art Growing Up5:55 Shifting from Western to Arab Art Collecting8:45 Failure Is Not An Option10:47 Authenticating Art and The Lack of a Reference Site for Arab Art12:53 Organizing the Single Largest Private Collection of Modern Contemporary Arab Art15:05 The Kinship of Arab Culture17:57 Artists as Archivists of History19:46 Beirut: A De Facto Cultural Hub With No Taboos22:54 Critiquing the Celebration of Western Art Over Arab Art25:57 Dalloul Artist Collective: Focusing on The Artist27:18 The Broken Global Gallery System32:11 The State of Art Collecting in The Arab World35:56 Artists Basel Dalloul Adores38:02 The Need to Educate the Arab Youth on Arab Artists38:48 The Story Behind Ayman Baalbaki's Moulatham41:26 Empowering Artists with Transparency and Business Savvy Basel Dalloul Founded the Dalloul Art Foundation in 2017 to manage and promote his father's (Dr. Ramzi Dalloul) vast collection of modern and contemporary Arab art. At around 4000 pieces it is the largest collection of its kind in private hands. The collection includes but is not limited to paintings, photography, sculpture, video and mixed media art. Basel has had a passion for art since he was very young, inspired by both his mother and father, whom are also passionate about art in all its forms. Basel also founded NOOR Group in 2000 in response to the Egyptian government's announced goal of becoming the hub of the information technology (IT) industry in the Middle East. As Chairman and CEO, he has set the overall direction of NOOR, bringing the first region-wide, full-service IT development program to the area. He holds a Bachelor of Science in finance from American University and a Juris Doctor and MBA from Georgetown University, both in Washington, DC. Basel also studied electrical engineering and computer science at Rice University in Houston, TX, and undertook comparative studies of American and British common law and procedural law at Oxford University in England. He co-taught a course in entertainment law and the Internet at Georgetown University Law Center and is a frequent speaker and seminar leader at IT conferences worldwide. Connect with Bassel Dalloul

We all knew the art market slowed slow down, but we didn't realize the rules were being rewritten, too. Advisor, curator, and reporter Elisa Carollo joins Madison Beale on The Artalogue today to discuss the most important questions arising in the art market today.:Will there be more gallery shut downs? How are galleries adapting in a post-boom, post-digital art market?  What can the next generation dealers do to keep their heads above water? Today, we connect the dots between prices, context, and staying power.We start with Elisa's journey navigating secondary and primary markets, curation, and daily reporting, and how that unique vantage point helps Carollo understand what moves value in contemporary and ultra‑contemporary art. She breaks down the pandemic's fast‑track effect on emerging artists, why rapid price spikes can backfire, and how institutional recognition, biennials, and critical writing broaden demand beyond a handful of bidders.The conversation then turns to the gallery crunch: mounting fair schedules, rising rents, thin teams, and the danger of overgrowth. Carollo explores how dealers these days believe that community is driving more sustainable sales. We also spotlight hopeful momentum, from the Studio Museum in Harlem's reopening to Venice's next chapter, and revisit the Malta Biennial as a model for site‑specific, context‑rich curation that builds meaning as well as markets in places less frequented by the art world's usual travel circuit.Carollo offers grounded advice for aspiring art writers: be present in the industry, wear different hats, and ask better questions. If you care about how artworks earn their place (and keep it) this conversation is your field guide to an art world under renovation. Subscribe to The Artalogue, share with a friend who collects or curates, and leave a review telling me what part of the market you want explored next!Follow Elisa Carollo on Instagram Connect with the Artalogue: Madison Beale, HostBe a guest on The Artalogue Podcast

It's been a really dizzyingly busy October, and as is customary, we are ending the month by talking about three of the biggest topics. We have a palette of stories that gives a sense of how head-spinning it was. First, we are going to talk about one of the biggest stories in the world, the $102 million jewel heist at France's Louvre museum, which has transfixed the public. Second, it's been a busy few weeks in the European art world on top the Louvre heist, with both Art Basel Paris and Frieze London. Our reporters were there so we are going to check in on what the news from the art biz is. And third, we'll talk about the new Sora 2 app, an all-A.I. TikTok clone that isn't public yet but is at the top of the app charts. I got a chance to try it out and looked at it. An artist I know called it “the death of video art.” Is it that bad or that good? What does it mean for art? We'll talk about that too. Ben Davis is joined as is custom by Artnet's senior editor and Art Angle co-host Kate Brown, in Berlin, alongside European news reporter Jo Lawson-Tancred.

Monocle’s Sophie Monaghan-Coombs on one of the biggest events on the art calendar. Plus: Leila Molana-Allen reports from the Middle East, Zelensky goes to Washington and Andrew Mueller gets a lesson in autumnal wines.See omnystudio.com/listener for privacy information.

Steve and Katie speak with art market regulatory and compliance expert Jane Levine about the state of anti-money laundering regulations in the art world and the efficacy and limitations of new legislation proposed in the United States.   Notes for this episode: https://artlawpodcast.com/2025/10/14/the-art-market-integrity-act-are-aml-regulations-finally-coming-to-the-us-art-market/   Follow the Art Law Podcast Instagram: https://www.instagram.com/artlawpodcast/ TikTok: https://www.tiktok.com/@artlawpodcast Katie and Steve discuss topics based on news and magazine articles and court filings and not based on original research unless specifically noted.

Devang, Global Head of Christie's Ventures, joins us to explore the transformative power of technology in the art world. With a career spanning the intersection of tech, strategic investment, and the art market, Devang offers a compelling perspective on how emerging technologies will reshape our world. 

High-end art is attractive to money launderers because the market is opaque, illiquid by design, and driven by subjective valuations that are easy to manipulate. Buyers can hide beneficial ownership behind shell companies, trusts and intermediaries, buy works in private sales or through friendly galleries (avoiding the transparency of public auctions), and then re-sell or re-collateralize the pieces to convert illicit cash into apparently legitimate wealth. Criminals exploit briefcases of cash, friendly dealers, falsified provenance and inflated invoices to mask the origin of funds; they also use tactics like “wash” trades or reciprocal purchases between related collectors to inflate prices and justify large transfers that look like ordinary art commerce but are actually value-shifting schemes. Because many transactions are routed through offshore vehicles and art advisors who act as gatekeepers, tracing ultimate ownership and the money trail is often slow and difficult for investigators.Beyond simple purchases and sales, art can be used as collateral for loans, leased, or held in freeports and bonded warehouses where paperwork and customs oversight are limited—allowing assets to be moved or monetized while avoiding immediate scrutiny. Regulators and investigators have also documented cases where artworks were used to hide or re-domesticate funds tied to corruption, sanctions evasion, and organized crime: opaque sales are followed by loans or resale that produce clean bank records, or by transfers through jurisdictions with weak AML controls. That combination of subjective pricing, private dealing, offshore structures, and weak reporting obligations has prompted global watchdogs and lawmakers to press for tighter anti-money-laundering rules in the art market.to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

We're thrilled to be able to say that the latest edition of Artnet's Intelligence Report: The Mid-Year Report 2025, has been published. It's free for all—head to Artnet News to download it as a handsome PDF. Within its covers, you'll find a bounty of information on the auction world and the art industry, which artists have been having a great year, how various countries' markets are performing, and a great deal more. Surprises abound from the Old Masters to the ultra-contemporary. You'll also find interviews with power players from the field, like the Guggenheim Museum's chief, Mariët Westermann, and the widely admired, now retired art dealer, Jack Hanley. And then there is the cover story by our ace columnist, Katya Kazakina. It's titled The Storm Hits the Art Market: Who's Getting Swept Away? It looks at recent upheavals in the art industry with galleries closing left and right, and everyone spent their summer thinking about how to run an art business now. There are tales of crash-outs and heartening new models; there's something for everyone. Artnet Pro editor Andrew Russeth speaks with Katya about her reporting after she pounded the pavement at openings for exhibitions all over New York City.

In this episode, I, Kat Popova, founder and editor of Create! Magazine and certified master coach, share practical ways for artists and creatives to strengthen their money and success mindset, even during uncertain times. You will learn how to release what is outside your control, rewrite limiting beliefs, focus on your desires and goals, and take small but powerful actions toward the future you want to create. Connect with us: Instagram: @createmagazine Resources: www.createmagazine.co

How does a museum place a value on a priceless work of art? And how much does it cost to keep it safe? Zachary Crockett appraises the situation. SOURCES:Glenn Lowry, director of the Museum of Modern Art. RESOURCES:"Why Climate Activists Are Still Throwing Food and Paint at Famous Artworks," by Tala Ansari (Wall Street Journal, 2023)."The Woman Who Made van Gogh," by Russell Shorto (New York Times, 2021)."The Lillie P. Bliss collection," (MoMA Collection, 1934)."May Belfort," by Henri de Toulouse-Lautrec (Cleveland Museum of Art, 1895)."Still Life with a Bottle," by Paul Cézanne (Pola Museum, 1890)."The Starry Night," by Vincent Van Gogh (MoMA Collection, 1889)."Portrait of Victor Chocquet Seated," by Paul Cézanne (1877). EXTRAS:"Hotel Art," by The Economics of Everyday Things (2025)."The Hidden Side of the Art Market," by Freakonomics Radio (2021). 

It was supposed to be the highlight of New York's spring auction week: Sculptor Alberto Giacometti's masterpiece “Large Thin Head” was this year's most hotly anticipated piece up for sale. But when the bidding opened, collectors went silent. WSJ's Kelly Crow explains what this unexpected auction week bust reveals about today's art market. Annie Minoff hosts.  Further Listening: - The $6 Million Banana's Appeal  - Is This Painting a Masterpiece? AI Is On the Case  - The Basquiat Sisters on Managing One of Art's Hottest Brands  Sign up for WSJ's free What's News newsletter.  Learn more about your ad choices. Visit megaphone.fm/adchoices