Podcasts about Art world

For the 300th episode of What's My Thesis?, Javier Proenza is joined by Los Angeles-based artists and cultural workers Dakota Noot and Christopher Anthony Velasco for an informal conversation shaped by friendship, shared history, and long experience in contemporary art communities. The discussion reflects on public visibility, social media hostility, reputation, and the shifting dynamics of creative life in increasingly online cultural spaces. The episode also examines practical questions of artistic survival, including teaching, freelance writing, collaborative creative work, and the limitations of traditional institutional pathways. Moving between humor and critical reflection, the conversation offers a grounded portrait of how artists build careers, relationships, and parallel forms of legitimacy outside conventional gallery structures.

Christine further shares, hoe she and her husband wanted to spend a significant amount of time on impactful global health work. They started the END Fund, which has treated a billion people for neglected tropical diseases over 20 years. This conversation explores stepping out of comfort zones to focus on areas of crisis, demonstrating how hands-on activism in global health can be deeply rewarding and connecting work.  To learn more about The End Fund and their incredible work to cure and prevent the spread of neglected tropical diseases go to their website www.endfund.org For information on Christine's galleries in New York City and Seattle Winston Wächter Fine Arts, please visit www.newyork.winstonwachter.com ********** To learn more about SHIFT HAPPENS, click here  To learn more about Claudia's business SHIFT HAPPENS.Curated Conversations and her Salons in New York, Zurich and Berlin, click here You can also connect with Claudia on Instagram @shifthappens.podcast and LinkedIn at ClaudiaMahlerNYC This podcast is created, produced and hosted by Claudia Mahler.

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

More cosmetic surgeries are performed on the chest than almost anywhere else on the body, with breast implants leading the way. Not long ago, “bigger is better” defined the ideal, but we're seeing a shift toward smaller, more natural results. So what's driving that change? Today, we're diving into the world of chest surgery, and what it reveals about beauty, power, and the making of the “ideal” breast. I am joined once again by Sarah Thornton, a sociologist, non-fiction writer, and author of four critically acclaimed books. Thornton's most widely read book is Seven Days in the Art World, which is translated into over 20 languages. Her latest is titled, Tits Up: The Top Half of Women's Liberation, which explores the significance of breasts across radically different social worlds. Some of the specific topics we explore include: How common are breast implants today? How have aesthetic goals shifted over time? What shapes patient preferences in augmentation? Are there cross-cultural differences in breast augmentation? How do augmentation, reconstruction, and reduction differ in purpose and meaning? Check out Sarah’s website to learn more about her work. Got a sex question? Send me a podcast voicemail to have it answered on a future episode at speakpipe.com/sexandpsychology. *** Thank you to our sponsors!  If you’re looking to gain a broad understanding of human sexuality or refresh your knowledge, check out the upcoming Human Sexuality Intensive courses at the Kinsey Institute: https://kinseyinstitute.org/learning/human-sexuality-intensive.html  *** Want to learn more about Sex and Psychology? Click here for previous articles or follow the blog on Facebook, Twitter, or Bluesky to receive updates. You can also follow Dr. Lehmiller on YouTube and Instagram. Listen and stream all episodes on Apple, Spotify, or Amazon. Subscribe to automatically receive new episodes and please rate and review the podcast! Credits: Precision Podcasting (Podcast editing) and Shutterstock/Florian (Music). Image created with Canva; photos used with permission of guest.

We talk a lot about biennials. Art is in some ways a very local, in-person thing. Yet artists and creators and writers are also part of a global conversation, looking at and thinking about each other across borders, and these big, recurring art festivals can serve as an opportunity or a prompt to think about what that bigger conversation. One of the biggest, the Venice Biennale, is coming up next month. It's centered around a show called “In Minor Keys,” curated by the late curator Koyo Kouoh. My colleague Jo Lawson-Tancred recently had an article looking at the artists in that show, comparing where they were from and how old they were to the last several editions, to see how the art conversation was evolving. Meanwhile, Ben Davis just published a big project this week, looking at the last four years of art biennials around the world, from the big ones in places like Istanbul, Gwangju, São Paulo, Sharjah, and Venice, to smaller or more experimental ones. He gathered all the names of artists to find out who has shown the most around the world since the 2022 Venice Biennale four years ago. Some are familiar names, some were total surprises. With Venice soon to open, Ben speaks with Jo to talk about what we've learned from our different projects about where the global art conversation has been and where it might be headed.

We talk a lot about biennials. Art is in some ways a very local, in-person thing. Yet artists and creators and writers are also part of a global conversation, looking at and thinking about each other across borders, and these big, recurring art festivals can serve as an opportunity or a prompt to think about what that bigger conversation. One of the biggest, the Venice Biennale, is coming up next month. It's centered around a show called “In Minor Keys,” curated by the late curator Koyo Kouoh. My colleague Jo Lawson-Tancred recently had an article looking at the artists in that show, comparing where they were from and how old they were to the last several editions, to see how the art conversation was evolving. Meanwhile, Ben Davis just published a big project this week, looking at the last four years of art biennials around the world, from the big ones in places like Istanbul, Gwangju, São Paulo, Sharjah, and Venice, to smaller or more experimental ones. He gathered all the names of artists to find out who has shown the most around the world since the 2022 Venice Biennale four years ago. Some are familiar names, some were total surprises. With Venice soon to open, Ben speaks with Jo to talk about what we've learned from our different projects about where the global art conversation has been and where it might be headed.

In this year's edition of New York Magazine's annual "yesteryear" issue, chief art critic Jerry Saltz writes about his experiences in the New York City art scene in the 1990s. He discusses his piece, "My '90s Art World," and take calls from listeners who want to share their own memories. Photo courtesy of Jerry Saltz; Artist Jeff Koons and art dealer Leo Castelli at Sonnabend Gallery, 1991

AP correspondent Julie Walker reports on a father daughter team of art forgers and some of the dupes they passed off.

You might think that breasts are inherently sexual and that humans have always eroticized them. Historically, however, breasts haven't always been seen this way, and even today, breasts are barely sexualized in some cultures. In today's episode, we're looking at the fascinating story behind how breasts became eroticized, and how the cultural meaning of breasts has changed over time. My guest is Sarah Thornton, a sociologist, non-fiction writer, and author of four critically acclaimed books. Thornton's most widely read book is Seven Days in the Art World, which is translated into over 20 languages. Her latest is titled, Tits Up: The Top Half of Women's Liberation, which explores the significance of breasts across radically different social worlds. Some of the specific topics we explore include: How did decoupling breasts from feeding make them more erotic? What role did infant formula play in that shift? Historically, was breast sexualization partly a privilege of wealth? How do culture and concealment shape what we eroticize? Why is the nipple where we draw the line? Check out Sarah’s website to learn more about her work. Got a sex question? Send me a podcast voicemail to have it answered on a future episode at speakpipe.com/sexandpsychology. *** Thank you to our sponsors!  Let this Mother's Day be a reminder that she deserves care, too. Discover how Cozy Earth turns everyday routines into moments of softness and ease. Head to cozyearth.com and use my code JUSTIN for an exclusive 20% off.  Passionate about building a career in sexuality? Check out the Sexual Health Alliance. With SHA, you’ll connect with world-class experts and join an engaged community of sexuality professionals from around the world. Visit SexualHealthAlliance.com and start building the sexuality career of your dreams today. *** Want to learn more about Sex and Psychology? Click here for previous articles or follow the blog on Facebook, Twitter, or Bluesky to receive updates. You can also follow Dr. Lehmiller on YouTube and Instagram. Listen and stream all episodes on Apple, Spotify, or Amazon. Subscribe to automatically receive new episodes and please rate and review the podcast! Credits: Precision Podcasting (Podcast editing) and Shutterstock/Florian (Music). Image created with Canva; photos used with permission of guest.

What does it mean to write about the art world from the inside?In this episode of About Art, Heidi Zuckerman is joined by writer and critic James Cahill to discuss his novel The Violet Hour and the psychological complexity of the contemporary art world.Drawing on his experience as both an art historian and gallery insider, Cahill reflects on the strange paradox of the art world—where even those at its center can feel on the periphery. The conversation explores how fiction can illuminate what criticism cannot, allowing for a deeper exploration of character, memory, and emotional truth.They discuss the ways art functions in our lives: as an escape, a mirror, and sometimes a veil. Through stories of artists, collectors, and curators, this episode considers how meaning is constructed—and why it often resists clarity. At its core, this is a conversation about ambiguity, perception, and the enduring power of art to hold complexity.About Art is available wherever you listen to podcasts.

For the 45th episode of Reading the Art World, host Megan Fox Kelly speaks with William E. Wallace, an internationally recognized authority on Michelangelo, about his new book “Michelangelo and Titian: A Tale of Rivalry and Genius,” published by Princeton University Press.The book makes a case scholars have long resisted: that the forty-year rivalry between Michelangelo and Titian was genuinely reciprocal. Wallace shows that Michelangelo—far from the untouchable master receiving Titian's admiration from a distance—was the first to encounter Titian's work, the first to react, and in certain respects the more transformed by it. Kelly and Wallace's conversation covers the two artists' actual meetings: Venice in 1529, Rome in 1545; the encounter at Alfonso d'Este's studiolo in Ferrara, where Michelangelo came face to face with Titian's mythological paintings and responded by producing the most erotic work of his career; and the role of Pietro Aretino—Titian's closest friend and, as Wallace puts it, the social media champion of the Renaissance—in shaping and publicizing the rivalry's terms.The episode closes on the two Pietàs: one by each artist, produced in old age, in which competition gives way to something closer to mutual recognition.For anyone interested in Renaissance art, the history of artistic rivalry, or how reputation is made and managed across a lifetime, this episode is essential listening.ABOUT THE AUTHOR William E. Wallace is the Barbara Murphy Bryant Distinguished Professor of Art History at Washington University in St. Louis. He is the author and editor of nine books on Michelangelo, has consulted for the Vatican on the cleaning of the Sistine Chapel ceiling, and has served as a principal consultant for three BBC television programmes on Michelangelo. He is the recipient of fellowships at Villa I Tatti, Harvard University's Center for Italian Renaissance Studies, and the American Academy in Rome.PURCHASE THE BOOK https://press.princeton.edu/books/hardcover/9780691266572/michelangelo-and-titianSUBSCRIBE, 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

What does it mean to be seen—and to see yourself clearly?In this episode of About Art, Heidi Zuckerman speaks with Sarah Hoover about identity, perception, and the space between how we understand ourselves and how others experience us.Their conversation moves fluidly between art and life, exploring visibility, expectation, and the emotional complexity of navigating the art world. Together, they consider what it means to belong, how perception shapes identity, and how moments of reflection can bring clarity.This is a candid and nuanced conversation about the inner life of the art world—and the ways we make meaning within it.

What can business learn from the art world? In this episode of In Good Company, Nicolai Tangen sits down with legendary curator Hans Ulrich Obrist, Artistic Director of the Serpentine Galleries and a master of connecting ideas, people, and disciplines.Obrist shares how creativity starts with listening, why serendipity often beats rigid planning, and how bringing together art, technology, and culture can create entirely new experiences. From lifelong conversations with artists to exploring AI and multi-sensory exhibitions, his approach is all about curiosity, collaboration, and long-term thinking. A sharp, inspiring conversation on creativity, innovation, and navigating uncertainty.Many of the projects discussed in this episode can be explored further through Serpentine on Bloomberg Connects (available via the Bloomberg Connects app): https://www.bloombergconnects.org/In Good Company is hosted by Nicolai Tangen, CEO of Norges Bank Investment Management. New full episodes every Wednesday, and don't miss our Highlight episodes every Friday. The production team for this episode includes Isabelle Karlsson and PLAN-B's Niklas Figenschau Johansen, Sebastian Langvik-Hansen and Pål Huuse. Background research was conducted by Isabelle Karlsson. Watch the episode on YouTube: Norges Bank Investment Management - YouTubeWant to learn more about the fund? The fund | Norges Bank Investment Management (nbim.no)Follow Nicolai Tangen on LinkedIn: Nicolai Tangen | LinkedInFollow NBIM on LinkedIn: Norges Bank Investment Management: Administrator for bedriftsside | LinkedInFollow NBIM on Instagram: Explore Norges Bank Investment Management on Instagram Hosted on Acast. See acast.com/privacy for more information.

Is sleep overrated for an artist? Does it even get in the way of being able to create? We explore the role sleep plays in the life of the artist of what adjustments we might need to make into to improve our craft.Source Material:“Sleeping Habits of the Art World,” (https://whitehotmagazine.com/articles/sleeping-habits-art-world/3600)“How Famous Artists Dealt with Insomnia,” (https://www.artsy.net/article/artsy-editorial-famous-artists-dealt-insomnia)“5 Sleeping Tips for Artists,” (http://www.jackiepartridge.com/news/5-sleeping-tips-for-artists)Theme Music: “Stick to the Plan,” written by Adrian Dominic Walther and performed by Dr. DelightAd Music:“Innovation Age,” written by Cody Kurtz Martin and performed by Cody MartinBumper Music:“Funk Circuit No. 9,” written by Adrian Dominic Walther and performed by Dr. Delight

In this week's episode of the ArtTactic Podcast, host Adam Green speaks with Will Korner, Head of Fairs at TEFAF, following the conclusion of TEFAF Maastricht and ahead of TEFAF New York this May. Known for its unparalleled breadth, TEFAF offers a unique art fair experience where visitors can encounter everything from Old Master paintings and antiquities to historic jewelry and cutting edge contemporary art all within a single fair. Adam and Will discuss what makes TEFAF Maastricht such a distinctive event in today's crowded art fair landscape, how the latest edition performed commercially, the role contemporary art now plays within the fair, why TEFAF has largely avoided the conversation around art fair fatigue, and what collectors and visitors can look forward to when TEFAF New York opens this spring.

Fluent Fiction - Serbian: Finding Courage: An Artist's Journey Through Anxiety Find the full episode transcript, vocabulary words, and more:fluentfiction.com/sr/episode/2026-03-28-22-34-01-sr Story Transcript:Sr: На сунчан дан пролећа, Национална галерија уметности у Београду била је испуњена живописним детаљима и узбуђењем.En: On a sunny spring day, the Национална галерија уметности in Beograd was filled with vivid details and excitement.Sr: Посетиоци су улазили кроз велика дрвена врата, њихова лица осветљена кишом свежег сунца која се пробијала кроз велике прозоре.En: Visitors entered through the large wooden doors, their faces lit by a shower of fresh sunlight streaming through the big windows.Sr: Јелена, курaтorka изложбе, брзо је пролазила галеријом, осигуравајући да свака слика буде на свом месту, јер се ближила велика ускршња изложба.En: Jelena, the curator of the exhibition, was quickly moving through the gallery, ensuring that every painting was in its place, as the major Easter exhibition was approaching.Sr: Милош је стајао у углу галерије, посматрајући како људи стају пред уметничким делима.En: Milos stood in the corner of the gallery, watching people pause before the artworks.Sr: Његов рад биће изложен први пут и осећао је велику одговорност.En: His work was being exhibited for the first time, and he felt a great responsibility.Sr: Његов пријатељ Вук, који је недавно стигао из иностранства, стајао је поред њега, не знајући да се испод Милошеве мирне фасаде крије бурa анксиозности.En: His friend Vuk, who had recently arrived from abroad, stood beside him, unaware that below Милош's calm facade lay a storm of anxiety.Sr: Милош је осетио како му срце убрзано куца.En: Милош felt his heart racing.Sr: Соба је одједном деловала сувише мала, гласови сувише гласни.En: The room suddenly seemed too small, the voices too loud.Sr: Размишљао је да изађе из галерије, да удахне свеж ваздух и врати мир.En: He considered leaving the gallery to get some fresh air and regain his composure.Sr: Али страх од разочаравања Јелене све је више растао у њему.En: But the fear of disappointing Јелена was growing stronger within him.Sr: "Не могу да урадим ово", прошапута Милош, гласа скоро пригушеног сопственим мислима.En: "I can't do this," Милош whispered, his voice nearly drowned by his own thoughts.Sr: "Шта не можеш?En: "What can't you do?"Sr: ", запита Вук, погледавши га узнемирено.En: asked Вук, looking at him with concern.Sr: Милош дубоко удахну, чврсто стежући Вукову руку.En: Милош took a deep breath, gripping Вук's hand tightly.Sr: Први пут му је открио своју борбу с анксиозношћу, надајући се разумевању.En: For the first time, he revealed his struggle with anxiety, hoping for understanding.Sr: Вук га зграби за рамена, гледајући га право у очи.En: Вук grabbed him by the shoulders, looking him straight in the eyes.Sr: "Ја сам ту, пријатељу", рекао је Вук тихо.En: "I'm here, friend," Вук said quietly.Sr: "Заједно ћемо се суочити са овим.En: "We'll face this together."Sr: "Са већом сигурношћу у себе, Милош и Вук почеше да шетају између гостију.En: With greater confidence in himself, Милош and Вук began to walk among the guests.Sr: Вук му је представљао неке утицајне људе у свету уметности, што је Милошу помогло да осети и нешто друго осим сопственог страха.En: Вук introduced him to some influential people in the art world, which helped Милош to feel something other than his own fear.Sr: Ускоро, наишао је на Јелену, која је одмах приметила промена у Милошевом држању.En: Soon, he encountered Јелена, who immediately noticed the change in Милош's demeanor.Sr: "Спреман си?En: "Are you ready?"Sr: " упитала га је сочно, усмеравајући га ка постољу где ће представити своје дело.En: she asked brightly, guiding him toward the podium where he would present his work.Sr: Милош је климнуо главом, ођедном свестан тежине који му подршка пријатеља и разумевање његовог ментора.En: Милош nodded, suddenly aware of the weight that his friend's support and his mentor's understanding had lifted from him.Sr: Док је излагао свој рад, глас му се чуо снажно и емоционално, додирујући свако срце у публици.En: As he presented his work, his voice was strong and emotional, touching every heart in the audience.Sr: Упростред аплауза и похвала, Милош је коначно осетио мир.En: Amidst the applause and accolades, Милош finally felt at peace.Sr: Учење да се ослони на пријатеље показало се кључним.En: Learning to rely on friends proved to be crucial.Sr: Са новом самоувереношћу и снагом, Милош је гледао будућност мало светлије, спреман за нове изазове који тек чекају.En: With newfound confidence and strength, Милош looked to the future a little more brightly, ready for the new challenges that awaited.Sr: С пролећем у ваздуху и пријатељем уз себе, Милош се осетио спремним за све што Његова будућност може донети.En: With spring in the air and a friend by his side, Милош felt prepared for whatever his future might bring. Vocabulary Words:sunny: сунчанspring: пролећаvivid: живописниdetails: детаљимаexcitement: узбуђењемcurator: курaторкаensure: осигуравајућиapproaching: ближилаexhibition: изложбаresponsibility: одговорностabroad: иностранстваfacade: фасадеanxiety: анксиозностиheart racing: срце убрзано куцаregain: вратиcomposure: мирfear: страхdisappointing: разочаравањаwhispered: прошапутаconcern: узнемиреноgripped: стежућиrevealed: откриоstruggle: борбуunderstanding: разумевањеintroduced: представљаоinfluential: утицајнеdemeanor: држањуguiding: усмеравајућиpodium: постољуaccolades: похвала

For the 44th episode of Reading the Art World, host Megan Fox Kelly speaks with András Szántó—cultural strategist, writer, and longtime observer of museums and markets—about his new book, "The Future of the Art World: 38 Dialogues," published by Hatje Cantz.The book brings together 38 conversations with artists, curators, sociologists, philosophers, collectors, gallerists, and institutional leaders—what Szántó describes as a “stained-glass window” onto the art world's possible futures. Rather than advancing a single thesis, the dialogues map the pressures shaping the field: the dominance of mega-galleries and the squeeze on mid-sized dealers, the erosion of traditional art criticism and what may replace it, the precarious economics of artistic careers, and whether today's system is evolving gradually or approaching a more fundamental realignment.Their conversation takes up the scale of the global art world—some 300 art fairs, more than 100,000 museums, and a market approaching $60 billion—and asks whether that expansion has altered the system in kind, not only in size. They discuss the role of the art advisor within an increasingly complex ecosystem, the importance of criticism in sustaining the values the market depends on, and whether artificial intelligence may emerge as a new connective tissue for engagement with art. Szántó is cautiously optimistic, pointing to developments such as the emergence of gallery districts in Tribeca, the Studio Museum in Harlem's new building, and the reopening of the Frick—while remaining clear-eyed about the structural headwinds ahead.For those working within the art world—as well as those seeking to understand it—this conversation offers something rare: the breadth of 38 dialogues distilled into a single, considered one.ABOUT THE AUTHOR András Szántó, PhD, advises museums, foundations, educational institutions, and leading brands worldwide on cultural strategy. He has directed the Museums of Tomorrow Roundtable at the Fine Arts Museums of San Francisco, the Global Museum Leaders Colloquium at the Metropolitan Museum of Art, and the National Arts Journalism Program at Columbia University. His writing has appeared in The New York Times, Artforum, and The Art Newspaper. Born in Budapest, he lives in Brooklyn.PURCHASE THE BOOK https://andras-szanto.com/book/the-future-of-the-art-world-38-dialogues/Note: click the “ask a question” button to see the AI feature mentioned in the episode. 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

In this episode of Occupied Thoughts, FMEP Fellow Ahmed Moor speaks with David Velasco, the former editor-in-chief of the art magazine Artforum. Ahmed and David discuss David's decision in October 2023 to publish a letter from cultural workers in support of Palestinian liberation and an immediate ceasefire in Gaza and in opposition to violence against all civilians, regardless of identity. David was fired following the publication of that letter. Ahmed and David discuss the concept of solidarity in the art world, the role of money in culture, and how they understand voluntary complicity and capitulation in the early stages of genocide.  David Velasco is an American writer and editor. He was the editor-in-chief of the art magazine Artforum from 2017 to 2023. He is the editor of Modern Dance, a 2017 series of books on contemporary choreographers published by the Museum of Modern Art, New York. In December 2025, he published an essay in Equator entitled "How Gaza Broke the Art World" about being fired from Artforum in the wake of October 7th.  Ahmed Moor is a Palestinian-American writer born in Gaza and a Fellow at FMEP. He is an advisory board member of the US Campaign for Palestinian rights, co-editor of After Zionism (Saqi Books) and is currently writing a book about Palestine. He also currently serves on the board of the Independence Media Foundation. His work has been published in The Guardian, The London Review of Books, The Nation, and elsewhere. He earned a BA at the University of Pennsylvania and an MPP at Harvard University. You can follow Ahmed on Substack at: https://ahmedmoor.substack.com.  Original music by Jalal Yaquoub.

In this episode, I sit down with Lex Marie, an artist whose work confronts the uncomfortable truth that Black children in America are often denied the luxury of innocence. She transforms the everyday remnants of her son's childhood into confrontation disguised as portraiture, and the materials she chooses will stop you in your tracks. We talk about building a career on your own terms, staying multidisciplinary, and what it really means to refuse the boxes the art world tries to put you in. Chapters 00:19 Introduction to Lex Marie 03:26 Realizing a Different Viewpoint Through Motherhood 05:11 The Decision to Pursue an MFA 06:23 Using Her Son as Muse and Material 08:00 Choosing Which Clothing Gets Immortality 10:31 Balancing Inspiration with Intimate Boundaries 12:12 Processing Big Feelings into Artwork 14:08 Knowing When a Piece is Finished 15:15 Cultivating Relationships in the Art World 16:47 The Lifelong Journey of an Art Practice 18:51 The Intentional Choice Behind the Name Lex Marie Connect With Lex Marie: Follow on Instagram: https://www.instagram.com/thelexmarie Website: https://www.lexmarie.com/ Support the Show Website: Martine SeverinFollow on Instagram: Martine | This Is How We CreateSubscribe to the Newsletter: Martine's Substack This is How We Create is produced by Martine Severin. This episode was edited by Daniel Espinosa. Podcast show art is designed by Violetta Encarnación. Music by Timothy Infinite. Subscribe wherever you get your podcasts Leave a review Follow us on social media Share with fellow creatives  

Cultural historian Kassia St. Clair tells the stories of two highly prized colors that are linked to specific places in the world: an exquisite, extremely expensive blue that crossed the globe and upended the European art world… and a shade of purple that possibly wouldn't have ever come to exist in a different place and time.    Learn more about color history in Kassia's book, The Secret Lives of Color Plus: We always want to hear from you! If you have a question or story for us, give us a call at at 315-992-7902 and leave a message, or send an email to hello@atlasobscura.com. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Most artists wait for the art world to invite them in. Daniel Arsham stopped waiting - and built his own gallery at 21 instead. In this episode, Kat sits down with Daniel Arsham, one of the most sought-after artists of his generation, to talk about his brand new book Future Relic - a brutally honest handbook written for his 17-year-old self who dreamed of being an artist but had no roadmap to get there. Daniel's iconic "eroded" aesthetic has made him a singular force in contemporary art, but behind that vision is decades of showing up, collecting failures, and building a career on his own terms - from gutting a Miami house to create a gallery space, to collaborating with Dior, Adidas, Pharrell Williams, and the Cleveland Cavaliers. In this conversation, we get into: Why art school teaches you to make the work but not build a career How Daniel got gallery representation with Perrotin after four years of showing up The mindset shift that makes walking into intimidating rooms possible Why nobody remembers your failures - and why you should collect them anyway How brand collaborations funded his practice without compromising his vision The power of writing down ultra-specific goals Why restraint is one of the most underrated tools in an artist's career Whether you're just starting out or wondering how to take your practice to the next level, this conversation will inspire you and give you real, actionable perspective on what building a sustainable art career actually looks like. Get the book: Future Relic by Daniel Arsham Daniel Arsham's exhibition "Just Various Thoughts" opens March 5th at Perrotin New York. Enjoying the show? Leave us a review on iTunes and share this episode with a fellow artist - it means the world. Explore Create! Magazine, open calls, exhibitions, and free resources: createmagazine.com Follow us on Instagram: @createmagazine Read new articles on our Substack: createmagazine.substack.com

We live in a mostly mass-produced, machine-made world of globalised banality. Interior spaces from north to south look and feel the same. Yet, as human beings, we revel in our individuality and crave the means to add a personal stamp to the way we live and the places we inhabit. We yearn to possess things that are unique to us and that no one else can have. Artisan-made items created by skilled and loving hands will deliver those special touches that make a room memorable and distinctive, but where should designers go to find these precious pieces? How can craft makers find an appreciative audience for their work? And how can designers best explore and source from the vast range of crafts in existence? To discuss this topic, we're joined by makers, Natasha Mann and Claire Coles, Louisa Pacifico from Future Icons, Sam Fisher from Decorex and internationally renowned interior designer, Katharine Pooley. Recorded in Katharine Pooley Studio in London. A big thank you to our series partner, Decorex Chapters (00:00:00) - Welcome to the Interior Design Business(00:01:21) - Three of London's best-known artists and their business(00:02:43) - What is craft in France?(00:04:03) - In the Elevator With Craftspeople(00:05:22) - How to Train to Become a Painter(00:11:57) - How Do You Find an Interior Designer?(00:13:00) - Are Artisan Made Materials Naturally More Expensive?(00:15:12) - Making Spaces at Decorx(00:16:41) - Making Spaces(00:20:40) - Interior Designers Work With Makers(00:23:08) - How to decorate a large house with an online gallery(00:24:52) - Claire's Small Business(00:26:21) - Storytelling in the Art World(00:27:02) - When You're On Your Own(00:27:50) - The Story of Interiors(00:31:39) - Will Your Objects Go to an Art Gallery?(00:32:20) - Bespoke Design: Managing Client Expectations(00:37:26) - The Color of Light(00:37:40) - Where should designers go to find the makers of tomorrow?(00:41:34) - Crafts in the Interior: Future Icon Selects

Dr. George Dagliyan examines how artificial intelligence is transforming the art world, raising questions about originality, authorship, and creativity. The article explores the economic, cultural, and philosophical implications of AI in artistic production. Dr George Dagliyan City: Los Angeles Address: 7621 Louise Ave Website: https://georgedagliyan.com/ Phone: +1 213 761 5026 Email: info@georgedagliyan.com

Charles Stewart, chief executive of Sotheby's, joins the Big Boss Interview and discusses the scrutiny facing the art market over money laundering, the growth of digital art and NFTs, the expansion of sports collectibles, and how the conflict in the Middle East could affect the industry.Stewart, who previously served as chief executive of a small bank before joining Sotheby's, describes the characterisation of the industry as working with illicit money as a “misjudged notion”. He argues the company's client base consists largely of established collectors, museum trustees and philanthropists who buy works to live with them rather than to obscure wealth.Russian buyers — often cited in discussions about opaque art transactions — represented less than 1% of Sotheby's global business when sanctions were imposed following the invasion of Ukraine, he says, challenging assumptions about the role of Russian money in the market.Geopolitics is also shaping the art market. The Middle East has become an increasingly important region for Sotheby's, with auctions in Riyadh and Abu Dhabi reflecting years of market development across the Gulf. Stewart says the company's immediate priority amid escalating regional tensions is the safety of staff working there, though he notes market reaction to the latest conflict has so far been “somewhat muted”.Stewart notes that countries including the United Arab Emirates, Qatar and Saudi Arabia are investing heavily in cultural infrastructure as part of longer-term economic diversification strategies. Institutions such as the Louvre Abu Dhabi — open for nearly a decade — and the forthcoming Guggenheim Abu Dhabi form part of plans to establish new global cultural destinations.Despite these shifts, London remains central to Sotheby's global operations. The company's New Bond Street headquarters reflects more than 280 years of British heritage and the city continues to function as Sotheby's second-largest sales centre after New York. A recent London auction achieved a 100% sell-through rate with bidders from 40 countries, demonstrating sustained international participation despite post-Brexit complications around import and export logistics.The conversation also examines how technology is changing the art market. Stewart argues digital art represents a natural evolution in artistic practice rather than simply a speculative phenomenon linked to the boom and collapse of NFTs. He distinguishes between cryptocurrency speculation, the blockchain technology underlying NFTs, and the broader creative shift as artists adopt digital tools. Sports memorabilia has also become a growing category for Sotheby's. The market now extends beyond historic trophies and medals to include game-worn shirts and collectibles authenticated through technology that can match items to specific moments in matches. Stewart attributes the expansion partly to generational wealth transfer and to younger collectors' interest in pre-owned objects with personal and cultural significance.Presenter: Sean Farrington Producer: Olie D'Albertanson Editor: Henry Jones02:12 - Middle East conflict impact 15:30 - Anti-Money laundering regulations 17:29 - Russian sanctions 19:30 - "Misguided Notion" of art world bad behaviour 23:34 - Digital Art as natural evolution 29:30 - Sports memorabilia growth

On this episode of On The Aisle, Tom Alvarez sits down with Indianapolis artist Kyle Ragsdale for a conversation about creativity, community, and building a lasting career in the Midwest. Known for his large-scale, story-driven paintings—including billboard-sized works near the —Ragsdale reflects on more than two decades of making imaginative, theatrical art that invites viewers to dream rather than debate.A former theater kid, Ragsdale's roots in performance continue to shape his work. He has designed sets for and , blending visual art with storytelling. His paintings—sometimes seen in homes, businesses, and even on HGTV's —are known for their whimsical motifs, mysterious scenes, and evolving themes.Ragsdale credits Indianapolis and the Harrison Center community for giving him space to grow, experiment, and sustain a full-time artistic career. He encourages young collectors to buy what they love and support local artists, emphasizing that art should feel welcoming, personal, and accessible. For Ragsdale, success isn't about chasing bigger markets—it's about building meaningful connections through art right at home.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

For the 43rd episode of "Reading the Art World," host Megan Fox Kelly speaks with Francine Snyder, Director of Archives at the Robert Rauschenberg Foundation, about her recently published book "I Don't Think About Being Great: Select Writings by Robert Rauschenberg," co-published by the foundation and Yale University Press.Their conversation reveals a side of Rauschenberg that many don't know: his relationship to language and writing. Despite self-identifying as dyslexic, Rauschenberg kept a substantial body of written work—correspondence, artist notes, testimony, speeches, and fragments—which he labeled in his own hand as "file RR writing." Snyder discusses the editorial choice to preserve Rauschenberg's misspellings, cross-outs, and grammatical idiosyncrasies rather than correct them. These visual elements function like collage—intentional word play and phonetic experimentation. The book presents 100 writings selected from nearly 900 in the archive.They discuss several key texts, including Rauschenberg's 1963 artist statement declaring "it is extremely important that art be unjustifiable"—a phrase he arrived at by crossing out "justifiable" in earlier drafts. This refusal of explanation aligns with his resistance to fixed meaning and his insistence that viewers bring their own interpretations. The conversation also addresses Rauschenberg's activism, from founding Change Inc. in 1970 to provide emergency support for artists, to advocating for artist resale royalty rights and NEA funding, to launching ROCI (Rauschenberg Overseas Culture Interchange) in the 1980s to foster artistic dialogue across borders.For anyone interested in postwar American art, artist archives, or how foundations steward intellectual legacy, this episode offers insight into an artist whose relationship to language was as experimental as his visual work.ABOUT THE AUTHOR Francine Snyder is Director of Archives at the Robert Rauschenberg Foundation, where she has worked since 2015. She specializes in artist and museum archives and in fostering research and scholarship on contemporary cross-disciplinary creative practices. Major initiatives under her leadership include the foundation's Fair Use Policy to reduce barriers to image use, the Archives Research Residency program, and expanded digital archives.PURCHASE THE BOOK https://yalebooks.yale.edu/book/9780300282566/i-dont-think-about-being-great/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

What does it feel like to return to your art practice after a 25-year break? In this episode of Art Problems, I speak with visual artist Shae Nadine about navigating an art world that had completely transformed in her absence. When Shae joined Netvvrk two years ago, she was figuring out basics like digital documentation and artist statements. But through accountability groups and community support, she went from feeling lost to landing a NYSCA grant, a SuCasa residency, and curating a four-month public art exhibition in Chicago. This conversation gets into the unglamorous parts of building an art career—like why Shae's accountability group toasts their rejections, how to know when you're actually ready to apply for major grants, and why sometimes the best thing you can do for your relationship is stop asking your partner to read your artist statement. If you've ever felt like an outsider in the art world, I recommend listening to Shae's story.   Links: Free Info Session: How to Become a Biennial Artist - Wednesday, February 25th at 7pm EST Register here. Shae Nadine || SubtleFlux: Website, Instagram Grants & Programs Mentioned: NYSCA (New York State Council on the Arts): https://arts.ny.gov Lower Manhattan Cultural Council (LMCC): https://lmcc.net Sukasa Grant: https://www.skowhegan.org/sukasa Manhattan Graphics Center: https://www.manhattangraphicscenter.org Pollack-Krasner Foundation: https://pkf.org Guggenheim Fellowship: https://www.gf.org Resources: Powerhouse Arts (mentioned in episode): https://powerhousearts.org Westbeth Artists Housing: https://westbeth.org

The Truth About Art World Careers: Inside Talent, Hiring, & Strategic Navigation with former co-managing partner of Sophie Macpherson Ltd.In this episode, I sat down with Rosie Allan, former co-Managing Partner of Sophie Macpherson, a leading recruitment firm specializing in the art market.I speak to Rosie about her journey into art world talent and recruitment, and what drew her to this particular corner of the industry. We talk about the groundbreaking Art Market Talent Reports that Sophie Macpherson has released over the past few years - research that has sparked essential conversations about working conditions, career pathways, and structural challenges across the sector.I ask her about the UK Employment Rights Bill and what it actually means for people working in galleries, auction houses, and museums today. We discuss what a strategic job search looks like in the current landscape, how the process differs between the US and UK art markets, and what mid-level professionals can do to convince employers they're ready for senior roles.We also talk about career progression in an industry where traditional advice doesn't always apply, Rosie's decision to step down as co-managing partner after years with the company, and so much more.Thank you Rosie for coming on the podcast!You can follow Sophie Macpherson Ltd on Instagram here: https://www.instagram.com/smlsearch/You can follow Rosie here:https://www.instagram.com/rosieallan_art/You can check out SML's website here: https://www.sophiemacpherson.com/- - - - - If you love what we do, support ALL ABOUT ART on PATREON!  ⁠https://www.patreon.com/allaboutart⁠Keep up to date on Instagram @allaboutartpodcast  ⁠https://www.instagram.com/allaboutartpodcast/⁠ ABOUT THE HOST:I am an Austrian-American art historian, curator, and writer. I obtained my BA in History of Art at University College London and my MA in Arts Administration and Cultural Policy at Goldsmiths, University of London. My specializations are in contemporary art and the contemporary art market along with accessibility, engagement, and the demystification of the professional art sector.SOCIALS: Instagram⁠ @alexandrasteinacker https://www.instagram.com/alexandrasteinackerand LinkedIn at ⁠Alexandra Steinacker-Clark⁠ https://www.linkedin.com/in/alexandra-steinacker/This episode is produced at Synergy https://synergy.tech/the-clubhouse/the-podcast-studio/ COVER ART: Lisa Schrofner a.k.a Liser⁠ ⁠⁠https://www.liser-art.com/ and Luca Laurence https://www.graffitikunst.at/Research and Creative Assistant: Iris Epstein 

The Moneywise Radio Show and Podcast Tuesday, February 10th  BE MONEYWISE. Moneywise Wealth Management I "The Moneywise Radio Show & Podcast" call: 661-847-1000 text in anytime: 661-396-1000 website: www.MoneywiseGuys.com facebook: Moneywise_Wealth_Management LinkedIn: Moneywise_Wealth_Management Guest: Rachel McCullah Wainwright, Curator & Owner of RAM Gallery website: https://www.galleryram.com/ The opinions voiced in this podcast are for general information only and are not intended to provide specific advice or recommendations for any individual. To determine which strategies or investments may be suitable for you, consult the appropriate qualified professional prior to making a decision. Rachel McCullah Wainwright and her business are not affiliated with nor endorsed by LPL Financial or Moneywise Wealth Management].

Today, I am joined by Marcel Baettig, artist, cultural leader, and founder and CEO of Bow Arts, one of London's most influential arts and education charities. Over three decades, Marcel has quietly built a values-led social enterprise that provides affordable studios and housing for artists, reaches tens of thousands of young people, and continually reinvests in local communities. This conversation isn't just about scale or success. It´s about precarity, why artists need infrastructure as much as inspiration, and how Marcel's own experience of working as an artist shaped Bow Arts. We explore leadership without ego, the long game of cultural change, and why we need to stop treating artists as an afterthought in regeneration. This episode is for anyone who's ever felt the system is stacked against them - and wondered what it looks like to build a different one. KEY TAKEAWAYS We need to stop accepting scarcity as inevitable, to question who systems are really designed for - building a better art world is not a theoretical exercise. It's a daily practice. Sustainable creative lives are built through shared responsibility and leaders who remember what it feels like to be at the kitchen table wondering how the rent will get paid and still choosing to make the work. If we want artists to survive, we must design practical, long-term infrastructure - affordable space, stable income pathways, and owned assets, not just offer prestige moments or short-term opportunities. BEST MOMENTS “Artists thrive when they are trusted, resourced, and rooted in their communities.” “Artists don't just need opportunities. They need conditions. Time. Space. Stability and a sense their contribution to society is not decorative, but essential.”   THE GUEST Marcel Baettig is the Founder and CEO of Bow Arts, a pioneering London charity providing affordable, sustainable spaces for artists to live and work while contributing to their local communities. Originally trained as an artist, he founded Bow Arts in 1994, and it now supports over 1,100 artists across London, runs a major learning programme that reaches tens of thousands of young people, and reinvests significant funds into local cultural life. He is also a founding director of the National Federation of Artist Studio Providers and has advised bodies including the Mayor of London, Arts Council England, and DCMS on creative workspace and cultural regeneration.  https://www.linkedin.com/company/1639152 https://www.facebook.com/bowarts/?locale=en_GB https://bowarts.org/ HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com

For some collectors, art is about beauty, meaning, and power. For others, it's a convenient place to clean dirty money. Today, Nicole breaks down the hidden financial playbook behind the global art market, and why some billionaires treat paintings less like décor and more like offshore bank accounts. From subjective valuations and private appraisals to tax-free warehouses, art-backed loans, and regulatory gray zones, this episode walks through the exact five-step system the ultra-wealthy can use to store, grow, and sometimes quietly clean massive amounts of cash. You'll hear how a $5 million painting can magically become a $20 million asset on paper, why some of the world's most valuable art never leaves storage, and how auction houses legally facilitate transactions that banks never could. Then Nicole pulls it back to real life — what this reveals about how wealth actually moves, why valuation is often narrative-driven, and how everyday investors can borrow the thinking without needing a Picasso or a private jet. Check out Nicole's financial literacy course The Money School  Find a Financial Advisor or Financial Coach from Nicole's company Private Wealth Collective Watch video clips from the pod on Money Rehab's Instagram and Nicole Lapin's Instagram Here's what Nicole covers today: 00:00 Are You Ready for Some Money Rehab? 00:18 Art as an Investment 01:14 How the Wealthy Buy Art  02:18 Freeports and Tax Havens  03:20 Reappraisal and Inflating Art Value  04:46 Using Art as a Financial Tool  06:16 Money Laundering Through Art  07:16 Lessons for Everyday Investors  08:17 Investing in Art Without Millions  All investing involves the risk of loss, including loss of principal. This podcast is for informational purposes only and does not constitute financial, investment, or legal advice. Always do your own research and consult a licensed financial advisor before making any financial decisions or investments.

What if the hardest days in the studio are not detours, but the path itself? We open up about the real fight behind the work—those sessions where flow vanishes, doubt gets loud, and the canvas refuses to cooperate—and why that tension can become your most reliable teacher. Drawing from Rashid Johnson's candid reflection with Carrie Scott on battling the work, we unpack the difference between inspiration and perspiration and why chasing “perfect” kills momentum.Along the way, we trade tools and stories: turning fight-or-flight into practical choices, switching pieces to redirect energy, and using rituals like Morning Pages, breath work, and device-free sessions to clear mental noise. Sun Tzu helps us name the real enemy—resistance expressed through fear and comparison—while Julia Cameron and Nick Cave remind us to cooperate with process, loosen our grip on control, and operate under the “cloud of artistic unknowing.” We talk about repainting, scrapping, and starting over, not as failure but as fidelity to the work's evolving voice.The thread tying it all together is permission. You don't need a bigger studio, pricier materials, or the perfect plan to make authentic art. You need consent to be where you are, to use what you have, and to let mystery lead when the plan breaks. If you've asked yourself, “Have I lost it?” you're in good company—and you're exactly where growth happens. Subscribe, share this with a friend who needs a nudge, and leave a review telling us how you keep the conversation with your work alive.The Episode from Carrie Scott with Rashid Johnson.https://www.youtube.com/watch?v=c41I_sre-UkSend us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg Watch the Video Episode on Youtube or Spotify, https://www.youtube.com/@JustMakeArtPodcast

Take It from Me by Alia Hanna Habib is a riveting deep-dive into the publishing industry from an agent's perspective. Alia joins us to talk about curiosity, reading nonfiction, literary agenting, social media, building community and more with host Miwa Messer. This episode of Poured Over was hosted by Miwa Messer and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): Take It from Me: An Agent's Guide to Building a Nonfiction Writing Career from Scratch by Alia Hanna Habib The Shred Sisters by Betsy Lerner Into the Wild by Jon Krakauer Seven Days in the Art World by Sarah Thornton Bad Company by Megan Greenhill The Colossus of New York by Colson Whitehead The House of Mirth by Edith Wharton Up in the Old Hotel by Joseph Mitchell The Friday Afternoon Club by Griffin Dunne A Confederacy of Dunces by John Kennedy Toole Darkness Visible by William Golding  

Damien Davis is a visual artist and writer who questions the art world's power structures from an artist's perspective. In this conversation with host Alyson Stanfield, he exposes the gatekeeping mechanisms—from application fees to institutional approval—that keep artists competing for artificially scarce opportunities instead of recognizing the abundance they could create together. Damien reveals: How learning business skills like grant writing and fundraising allowed him to stop waiting for gatekeepers and reclaim his studio practice Why he defines a successful artist as simply someone who keeps making art, regardless of galleries or institutional validation How barriers like application fees serve to keep artists competing for resources that should be abundant Why people at the center of the art ecosystem benefit from keeping artists in perpetual competition with each other How his writing exposes exploitation directly while his colorful sculptures draw viewers into uncomfortable conversations about erased histories Read more, see images, find resources mentioned Connect with Damien: Website and Newsletter Instagram Hyperallergic Articles   Email me to discuss strategic consulting for your long-term career goals. Think you'd make a good guest on The Art Biz? Read This The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.  

The boys talk about a legal battle over "phony" art and a gallery that promotes "questionable" art. Plus, they're sober so they can't focus their thought. Come listen to the sh!t show.ArtAtTheEdge.compatreon.com/gapotheclown

Understanding the Iconic Personal Brand of Jean-Michel Basquiat with Doug Woodham. In this episode, Brandon sits down with Doug Woodham, author of 'Jean-Michel Basquiat: The Making of an Icon,' to delve into the fascinating life and lasting cultural impact of Jean-Michel Basquiat. From his early struggles as a homeless teenager to becoming one of the most valuable artists in history, Basquiat's journey is explored in depth. Woodham discusses the pivotal moments and relationships that shaped Basquiat's career, his bold and enigmatic art, and the strategic decisions that cemented his posthumous fame. 00:50 Introduction to Basquiat's Cultural Impact  04:06 The 2017 Sale and Its Global Impact 05:41 Licensing and Pop Culture Integration 10:48 Basquiat's Artistic Style and Influence 15:41 The Neo-Expressionism Movement 21:21 Early Struggles and Key Relationships 26:22 Navigating the Art World 32:43 Celebrity Endorsements and Market Resurgence This is the Brands On Brands Podcast with Brandon Birkmeyer www.brandsonbrands.com Don't forget to get your own personal branding scorecard at: https://www.brandsonbrands.com/scorecard CONNECT WITH ME Connect with me on social media: https://www.brandsonbrands.com/mylinks READ MY BOOK - FRONT & CENTER LEADERSHIP I launched a new book and author website. Check it out here. https://www.brandonbirkmeyer.com/fcl CHECK OUT MY COURSES Get tactical trainings and access to one-on-one coaching! https://www.brandsonbrands.com/courses SUBSCRIBE TO THE NEWSLETTER Get the latest news and trends on all things personal branding and the creator economy. https://www.brandsonbrands.com/newsletter

Play No Games is a space for real conversations and perspective.Each episode blends authenticity and insight—creating room for laughter, clarity, and growth as we unpack what's happening in culture and in ourselves._____________________________

In this episode of What's My Thesis?, Javier Proenza speaks with Ever Velasquez, Director of Charlie James Gallery, about her path from collage and community organizing to gallery leadership, and the values guiding the gallery's long-term commitment to artists in Los Angeles. Velasquez discusses curatorial pacing, group exhibitions as frameworks for career development, and the labor behind gallery work, alongside reflections on collage as a lifelong practice and Afro-diasporic spiritual traditions as discipline rather than aesthetic. The conversation centers self-advocacy, boundaries, and responsibility as essential to sustaining artistic and curatorial practice.

For the 42nd episode of "Reading the Art World," host Megan Fox Kelly speaks with Dr. Matthew Affron, Muriel and Philip Berman Curator of Modern Art at the Philadelphia Art Museum, about his book "Dreamworld: Surrealism at 100," published by the museum and distributed by Yale University Press.Their conversation traces Surrealism from its 1924 origins in André Breton's manifesto—which asked "how should we live?"—to its evolution as both an artistic movement and a philosophy of liberation. Affron shows how Surrealism emerged not as a singular style but as a set of strategies for merging dream and reality, expressed through automatism, collage, found objects, and juxtaposition—techniques designed to bypass conscious control and access the unconscious.They discuss how the movement's early lyrical explorations gave way in the 1930s to urgent responses to fascism's rise, with monsters and hybrids becoming visual metaphors for political evil. Affron examines the wartime diaspora that transformed Surrealism from a Parisian phenomenon into an international force, as artists fled to Mexico City and New York, drawing on indigenous North American imagery alongside European traditions.Affron emphasizes that Surrealist images are not transcriptions of dreams but invitations into unstable territory where thinking, desiring, and imagining intersect. He explains why these works reward openness to surprise over attempts to decode them, and how their techniques—now part of popular culture—keep Surrealism relevant for contemporary audiences.For anyone interested in modern art's avant-garde movements, the intersection of art and politics, or how creative communities adapt under pressure, this episode offers essential insights into a movement that continues to shape how we think about imagination and freedom.ABOUT THE AUTHORMatthew Affron is the Muriel and Philip Berman Curator of Modern Art at the Philadelphia Art Museum. He holds a Ph.D. in art history from Yale University and has published extensively on early abstract art, Fernand Léger, and modern art's relationship to politics. His previous books include Paint the Revolution: Mexican Modernism, 1910–1950, The Essential Duchamp, and Inventing Abstraction, 1910-1925.ABOUT THE EXHIBITION"Dreamworld: Surrealism at 100" is on view at the Philadelphia Art Museum through February 16, 2026. The exhibition features approximately 200 works by more than 70 artists, with highlights including Joan Miró's Dog Barking at the Moon (1926), Salvador Dalí's Soft Construction with Boiled Beans (Premonition of Civil War) (1936), and Dorothea Tanning's Birthday (1942). Philadelphia is the sole North American venue for this international centennial celebration. Learn more here: https://www.visitpham.org/exhibitions/dreamworld-surrealismPURCHASE THE BOOKhttps://store.philamuseum.org/dreamworld-surrealism-at-100-exhibition-catalog/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

Fluent Fiction - Hungarian: A Canvas of Fate: The Flash Exhibition that Defied Odds Find the full episode transcript, vocabulary words, and more:fluentfiction.com/hu/episode/2026-01-10-08-38-19-hu Story Transcript:Hu: A hideg téli este csendjét törte meg a Duna partján magasodó Magyar Nemzeti Galéria grandiózus látványa.En: The silence of the cold winter evening was broken by the grandiose sight of the Duna riverside's towering Magyar Nemzeti Galéria.Hu: A múzeum hatalmas termeiben meleg fények ragyogtak, melyek lágyan táncoltak a falakon lógó műalkotásokon.En: Warm lights shone in the museum's vast halls, softly dancing on the artworks hanging on the walls.Hu: István, a galéria lelkes kurátora, az igazgatóval beszélgetett. Izgalommal és egy kis aggodalommal keverte gondolatait.En: István, the gallery's enthusiastic curator, was talking with the director, mixing his thoughts with excitement and a bit of worry.Hu: A lehetőség váratlanul érkezett: Bence, a híres, titokzatos művész, épp most tette szabaddá lenyűgöző alkotásait egy villámkiállításra.En: The opportunity had arrived unexpectedly: Bence, the famous, mysterious artist, had just made his mesmerizing works available for a flash exhibition.Hu: István egy szempillantás alatt felismerte a lehetőséget.En: István recognized the opportunity in a blink of an eye.Hu: Ez lehetett az ő pillanata, hogy kitűnjön.En: This could be his moment to stand out.Hu: — Ez nagyszerű lehetőség, István — mondta az igazgató.En: "This is a great opportunity, István," said the director.Hu: — De kevés időd van.En: "But you have little time."Hu: A szó elhangzott, és István kinyitotta a jegyzetfüzetét.En: The word was spoken, and István opened his notebook.Hu: Eszter segít majd neki, ezt tudta.En: He knew Eszter would help him.Hu: Eszter mindig tudta, milyen részletekre kell figyelnie.En: Eszter always knew which details needed attention.Hu: De néha túlságosan is a tökéletességre összpontosított.En: But sometimes she focused too much on perfection.Hu: István éppen meg akarta beszélni a teendőket Eszterrel, amikor észrevette, hogy a nő már a festményeket vizsgálja.En: István was just about to discuss the tasks with Eszter when he noticed she was already examining the paintings.Hu: — Eszter, ez egy esély számunkra! Kevesebb mint három napunk van.En: "Eszter, this is an opportunity for us! We have less than three days.Hu: Tudom, hogy gyorsan kell cselekedni.En: I know we need to act quickly."Hu: Eszter figyelmes tekintetet vetett rá.En: Eszter gave him an attentive look.Hu: — De István, mindennek tökéletesnek kell lennie.En: "But István, everything needs to be perfect.Hu: Ez Bence munkája!En: It's Bence's work!"Hu: — Teljesen igazad van, de most gyorsaságra is szükség van — válaszolta István.En: "You're absolutely right, but we also need speed now," István replied.Hu: Elhatározta, hogy a legfontosabb feladatokat oszt ki Eszternek, míg ő az élőhely marketingjére összpontosít.En: He decided to assign the most important tasks to Eszter, while he focused on the exhibition's marketing.Hu: Alig volt idejük alapos tervet készíteni, de István érezte, hogy képesek lesznek áthidalni az akadályokat.En: They hardly had time to make a detailed plan, but István felt they would be able to overcome the obstacles.Hu: A kiállítás estéjén minden a helyére került, a meghívott vendégek szállingózni kezdtek.En: On the night of the exhibition, everything fell into place, and the invited guests started to arrive.Hu: Hirtelen a zene elhallgatott, és minden fény kialudt.En: Suddenly, the music stopped, and all the lights went out.Hu: István szíve hevesen dobogott.En: István's heart was pounding.Hu: — Mi történik? — kérdezte valaki a sötétből.En: "What's happening?" someone asked from the darkness.Hu: István gyorsan cselekedett.En: István acted quickly.Hu: — Gyertyákat! — kiáltotta az őröknek a hangja.En: "Candles!" his voice called to the guards.Hu: Néhány perc múlva gyertyák fénye árasztotta el a termet, a műalkotások árnyai mesésen táncoltak a falakon.En: Within a few minutes, the room was flooded with candlelight, the shadows of the artworks danced fabulously on the walls.Hu: Az emberek elhallgattak, a gyertyafény romantikája megragadta őket.En: The people quieted down, captured by the romance of the candlelight.Hu: István elképzelte, hogy a meghívottak csak a látott szépségre fognak emlékezni.En: István imagined the guests would remember only the beauty they saw.Hu: Amikor a világítás visszatért, István átölelte Esztert.En: When the lights came back on, István embraced Eszter.Hu: — Sikerült — mondta fáradtan mosolyogva.En: "We did it," he said with a tired smile.Hu: Eszter elnézően nevetett.En: Eszter laughed forgivingly.Hu: — Ez igazán elbűvölő volt.En: "It was truly enchanting."Hu: Ahogy a vendégek elhagyták a galériát, István elégedettséggel nézett körül.En: As the guests departed from the gallery, István looked around with satisfaction.Hu: Az igazgató odalépett hozzájuk, elégedetten bólogatott.En: The director approached them, nodding with approval.Hu: — Jól csináltátok.En: "You did well.Hu: Nem vártuk, hogy ilyen sikeres lesz ennyi megpróbáltatás után.En: We didn't expect it to be so successful after so many trials."Hu: István tudta, hogy most már másképp látják őt.En: István knew that now they saw him differently.Hu: A kihívás által tanult alázatot, csapatmunkát és kitartását semmi sem pótolhatja.En: The humility learned from the challenge, teamwork, and perseverance could not be replaced by anything.Hu: Ahogy kiléptek a hóborította lépcsőkre, ő és Eszter boldogan tekintettek egymásra azon a varázslatos téli estén, hőssé válva a galéria történetében.En: As they stepped out onto the snow-covered steps, he and Eszter looked happily at each other on that magical winter evening, becoming heroes in the gallery's history. Vocabulary Words:silence: csendbroken: törtegrandiose: grandiózustowering: magasodócurator: kurátorenthusiastic: lelkesopportunity: lehetőségmesmerizing: lenyűgözőunexpectedly: váratlanulrecognize: felismerattention: figyelemattentive: figyelmesassign: kiosztovercome: áthidalniobstacles: akadályokatflooded: elárasztottaenchanting: elbűvölőperseverance: kitartásmagical: varázslatosembraced: átöleltforgivingly: elnézőensatisfaction: elégedettséggelapproval: bólogatottperfection: tökéletességromance: romantikájamysterious: titokzatoscaptured: megragadtatrials: megpróbáltatáshumility: alázatdeparted: elhagyták

There is a reason why the art 'space' is divisive and why money distorts many things.In Episode #504 of 'Meanderings', Juan & I discuss: the book by Magnus Resch titled '100 Secrets of the Art World', tight‑knit gatekeeping at the high end of the market, how control of information shape what gets seen and sold (often more than artistic merit), parallels to other status markets such as watches/supercars, why 'better' often defaults to 'more expensive', where marketing can overshadow craft yet many collectors still buy for love and to support artists and why the truest encounters with art might still be found in small local galleries rather than at Art Basel.No support for this week, very sad puppy :( Stan Link: https://stan.store/meremortalsTimeline: (00:00:00) Intro(00:01:52) Defining the 'art space'(00:03:38) First impressions: elitism, provenance and pretence(00:09:04) Gatekeeping: cabals, galleries and New York(00:12:06) Parallels with cars/watches: scarcity and status(00:15:27) Art Basel anecdote: committees, control and quiet coups(00:20:02) NFTs, provenance on-chain and collectibles vs art(00:22:22) Popularity: storytelling, marketing and money(00:27:38) Quality heuristics: effort, complexity and the 22blue painting22 problem(00:32:38) Boostagram Lounge(00:34:00) Misconceptions across niches: calisthenics, hand balancing, circus(00:39:03) On labels and assumptions: steroids, fitness and nuance(00:44:04) Finding the essence: local galleries, pure enjoyment(00:48:06) Would creation persist without cash?(00:53:56) Purity at the base, distortion at the peak(00:55:27) Housekeeping and support links; live chat banter Connect with Mere Mortals:Website: https://www.meremortalspodcasts.com/Discord: https://discord.gg/jjfq9eGReUTwitter/X: https://twitter.com/meremortalspodsInstagram: https://www.instagram.com/meremortalspodcasts/TikTok: https://www.tiktok.com/@meremortalspodcastsValue 4 Value Support:Boostagram: https://www.meremortalspodcasts.com/supportPaypal: https://www.paypal.com/paypalme/meremortalspodcast

Join art advisor Megan Fox Kelly for a special holiday episode featuring her annual selection of art books worth giving—and keeping for yourself.This year's list includes revelatory biographies, major exhibition catalogues, and essential critical writing. From Barnett Newman's political and intellectual life before he became a painter, to Monet's restless vision traced through newly translated letters, these books illuminate artists and movements with fresh insight and rigorous scholarship.For the first time, Megan also recommends three exceptional books for young readers—intelligent introductions to art that never talk down to children. Whether you're looking for David Hockney's guide to pictures, the Met's "What the Artist Saw" series, or a poetic history of the color blue, these are books that teach children (and adults) how to see.To hear in-depth interviews with authors of other outstanding art books, subscribe to "Reading the Art World" on Spotify and Apple Podcasts.SHOW NOTESEpisode Timestamps: [00:00] - Introduction [01:05] - Barnett Newman: Here (https://press.princeton.edu/books/hardcover/9780691249186/barnett-newman)[01:38] - Fail Better: Reckonings with Artists and Critics (https://mitpress.mit.edu/9780262552356/fail-better/)[02:17] - Monet: The Restless Vision (https://www.penguinrandomhouse.com/books/250416/monet-by-jackie-wullschlager/)[02:42] - Man Ray: When Objects Dream (https://store.metmuseum.org/man-ray-when-objects-dream-80060783)[03:24] - Turner and Constable: Art, Life, Landscape (https://yalebooks.co.uk/book/9780300266481/turner-and-constable/)[03:55] - Sargent and Paris (https://yalebooks.yale.edu/book/9781588397959/sargent-and-paris/)[04:32] - Manet and Morisot (https://yalebooks.yale.edu/book/9780300280982/manet-and-morisot/)[05:15] - Dreamworld: Surrealism at 100 (https://yalebooks.yale.edu/book/9780876333082/dreamworld/)[05:55] - Henri Rousseau: A Painter's Secrets (https://yalebooks.yale.edu/book/9780300284355/henri-rousseau/)[06:29] - Robert Longo: The Acceleration of History (https://www.hatjecantz.com/collections/new-books/products/67473-robert-longo-the-acceleration-of-history)[07:08] - A History of Pictures for Children (https://www.abramsbooks.com/product/history-of-pictures-for-children_9781419732119/)[07:50] - What the Artist Saw (Series) (https://store.metmuseum.org/what-the-artist-saw-paul-cezanne-80057949)[08:20] - Blue: A History of the Color (https://www.penguinrandomhouse.com/books/606200/blue-by-nana-ekua-brew-hammond-illustrated-by-daniel-minter/)Music composed by Bob Golden

Professional art advisor Ariel Meyerowitz joins Jim O'Shaughnessy to demystify the complex world of art. Ariel provides an essential guide for aspiring collectors, explaining where to begin, how to develop your eye, and why buying what you love is the most important first step. They explore the inner workings of galleries, auctions, and art fairs, contrasting the emotional value of art with the often-fickle investment market. Ariel also shares her philosophy on patronage, the psychology of collecting, and the profound, stress-reducing impact of living with art. This conversation is a perfect starting point for anyone looking to break into the art world, offering a clear path from intimidation to appreciation. #Art #ArtCollecting #Investing #Culture #Creativity #MentalModels #Innovation #Design #Psychology #Philosophy   Important Links: Substack: https://newsletter.osv.llc/ Ariel's Website: https://www.arielmeyerowitz.com/   Books mentioned:  The Painted Word by Tom Wolfe

Artist Kelly Witmer joins host Javier Proenza to talk about material process, experimentation, and what it means to sustain an art practice in the desert. Based between Joshua Tree and Los Angeles, Witmer works across glass, ceramics, and painting, transforming the unpredictability of the kiln into a meditation on control, failure, and transformation. In this episode, she traces her trajectory from photography and printmaking at the University of the Arts in Philadelphia to her later exploration of sculpture and abstraction. The conversation moves through her early life in Pennsylvania's Mennonite community, her relocation to Los Angeles in the 1990s, and the gradual evolution of her visual language — from figurative painting to material-driven forms that balance fragility and chance. Witmer also reflects on the changing realities of the art world: the economics of desert living, the value of art school, and the rise of Instagram as both tool and trap for visibility and survival. Along the way, she discusses her fascination with prehistoric art, Utah pictographs, and the enduring human impulse to leave marks in stone and clay. A grounded, candid conversation about process, persistence, and the quiet negotiations between art, livelihood, and place.

Gustav Klimt's Portrait of Elisabeth Lederer (1914-16) sold for the second highest price ever realised at auction at Sotheby's in New York on Tuesday. It was the most notable of several big sales in the sold-out (or “white-glove”) auction of 24 works from the collection of the late billionaire Leonard Lauder, and has prompted some commentators to declare that the art market has turned a corner following a prolonged downturn. Ben Luke speaks to The Art Newspaper's senior art market editor in the Americas, Carlie Porterfield, about this week's auctions, and asks if they do mark a turning point in the art market's fortunes. Cop 30, the United Nations Climate Change Conference, is taking place in Belém, Brazil, and ends on Friday. To coincide with the conference, the Gallery Climate Coalition is publishing a Stocktake Report, in which it gives hard data on the efforts of its members to reduce their carbon emissions. The Art Newspaper's contemporary art correspondent in London, Louisa Buck, who is a co-founder of the coalition, tells Ben more. And this episode's Work of the Week is Victorious Cupid (1601-02) by Caravaggio, a landmark work by the artist, made at the height of his fame in Rome. The painting is making a rare journey from its home at the Gemäldegalerie in Berlin to the Wallace Collection in London, where it is at the centre of an exhibition opening next week. Ben talks to the collection's director, Xavier Bray, about the painting.Caravaggio's Cupid, Wallace Collection, London, 26 November-12 April 2026 Hosted on Acast. See acast.com/privacy for more information.

In this episode, I share strategies and mindset shifts for aligning your art with the high end art world.Experience my FREE masterclass, Awakening the Heroine: aligning energy and action for artistic acclaim, flow, and fortune, by ⁠⁠⁠CLICKING HERE! ⁠⁠⁠Enter the Creative Heroine podcast contest! Winner gets a podcast interview. To enter, write a 5 star review on Apple Podcasts, screenshot it and send it to me on IG at @thecreativeheroines or email jlibor@jessicalibor.com . Until December 1.Read & subscribe to my substack, Painting the Realm of Forms: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://jessicalibor.substack.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠And join our Discord here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/SB2YY5NrnF⁠⁠⁠⁠⁠⁠⁠⁠⁠Sign up for my free upcoming masterclass here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://mailchi.mp/b95c65c94acc/manifesting-for-artists⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out all of our courses and coaching: ⁠⁠⁠⁠⁠⁠⁠⁠⁠www.thecreativeheroines.com⁠⁠⁠⁠⁠⁠⁠⁠⁠You can explore my art here! ⁠⁠⁠⁠⁠⁠⁠⁠⁠www.jessicalibor.com⁠⁠⁠⁠⁠⁠⁠⁠⁠Thanks for listening!!

host: Alyson Stanfield La Vaughn Belle is a visual artist based in St. Croix whose interdisciplinary practice explores colonial histories and Caribbean identity. Host Alyson Stanfield talks with La Vaughn about building a thriving art career outside traditional art centers through strategic networking, intentional collaboration, and the bold decision to hire a publicist for her monument project I Am Queen Mary. La Vaughn reveals How she built strategic networks that expanded her reach beyond her local community Why collaboration with people outside her discipline opened unexpected doors The power of consistent newsletter practice and following up with genuine curiosity How she hired a publicist for her monument project and landed coverage in The New York Times, Guardian, and Time Magazine Why separating your work (obra) from your career (carrera) requires different strategies How dedicating 20 studio hours per week transformed her practice HIGHLIGHTS 01:30 How living in the Caribbean has shaped La Vaughn's cosmopolitan perspective as an artist 06:40 How La Vaughn's work explores colonial histories through material remnants and storm metaphors 09:00 The three key practices La Vaughn built to develop her reputation outside St. Croix 10:30 What La Vaughn looks for in collaboration and how working with non-artists sharpens her practice 17:00 How people find La Vaughn for collaborations and the importance of a strong website 20:10 La Vaughn's consistent newsletter practice and how she asks permission to add people to her list 23:40 Why La Vaughn's friend insisted she hire a publicist and how she overcame her resistance 26:30 Describing the two-and-a-half-story sculpture that combined coral stones and a reimagined Huey P. Newton image 33:30 How La Vaughn dove into her practice after the media attention died down 38:40 Using affirmations and strategic positioning to attract the right gallerist 43:20 The difference between obra (work) and carrera (career) that La Vaughn learned in Cuba 46:40 Why committing to 20 studio hours per week is essential for competing at an international level

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 months on the run, U.S. authorities finally tracked Inigo Philbrick to a remote island nation in the South Pacific: Vanuatu, a tropical archipelago more than 9,000 miles from London and a world away from the art fairs and galleries where he once thrived. What followed was a scene straight out of an action thriller: a dramatic arrest, a secretive extraction by private jet—at the height of the pandemic, no less—and a return to face justice, along with tens of millions in claims from furious investors and collectors. In this fourth and final episode, we uncover what happened in the months after Philbrick disappeared and how his high-flying double life came to an abrupt end. Law enforcement officials and art-world insiders weigh in on how they found him, what it takes to prosecute art fraud—and whether a man like this could ever make a comeback in the art world.

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.