Podcasts about contemporary art history

Nizan Shaked is our guest this month! Shaked is Professor of Contemporary Art History, Museum, and Curatorial Studies at UC Long Beach, and most recently the author of Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022). She speaks to Lauren Wetmore about the resources offered by criticality, writing for ”liberals that I want to become more radical,” and researching her forthcoming book Art Against the System, for which she recently won a Warhol Arts Writers Grant. Shaked offers artist LaToya Ruby Frazier's book The Notion of Family (Aperture, 2014) to consider the devastation perpetrated by imperial industry, its connection to art systems, and how artists provide models for how to deal with authoritarianism.Many thanks to this episode's sponsors, Centre PHI and Night Gallery, for their support of our work.Our deepest thanks to Nizan Shaked for her contribution to this season.And a big thank you to Jacob Irish, our editor, and Chris Andrews, for production assistance.

Marking the international touring exhibition 'Imagine: 100 Years of International Surrealism', Patrick Geoghegan finds out what this movement meant to the art world and its global significance still today. Joining him is Dr Felicity Gee, Senior Lecturer in Modernism and World Cinema at the University of Exeter, and Vice President of the International Society for the Study of Surrealism; Dr Matthew Affron, curator for modern and contemporary art at the Philadelphia Museum of Art who is leading the surrealism exhibition there; Professor Alyce Mahon, the University of Cambridge's Department of History of Art specialist in Modern and Contemporary Art History and Theory; and Dr. Tara Plunkett, Lecturer/Assistant Professor at the School of Languages, Cultures and Linguistics, at University College Dublin.

In this episode, Matt Valler and Matt Baker speak with Dan Siedell about the 'Curatorial Theology' he is currently developing as a graduate student at Drew University. Daniel A. Siedell is an art historian, art critic, and curator who has spent nearly twenty years writing and lecturing on modern art and theology. From 1996-2007 he was Chief Curator of the Sheldon Museum of Art, where he organized numerous exhibitions of modern & contemporary art. From 2007-2011 he was Professor of Modern & Contemporary Art History & Theory at the University of Nebraska-Omaha. Who's Afraid of Modern Art: https://www.amazon.com/Whos-Afraid-Modern-Art-Conversation/dp/1625644426/ref=sr_1_1?crid=14QP7H50L1R10&keywords=daniel+siedell+book&qid=1699904777&sprefix=daniel+siegel+book%2Caps%2C123&sr=8-1 Labyrinth: https://labyrinth.city/ Intro sample from the Netflix series Blue-eyed Samurai, episode 7. Music for this episode: Chaos Theory, Ava Low Love Always, Nu Alkemi Those Moments, Hampus Naeselius Nomad's Theme, Matt Baker

Amanda Boetzkes is a professor of Contemporary Art History and Theory at the University of Guelph. Her research focuses on the intersection of ethics and art as these relate to ecology. I reached out to her because I've been trying to understand the problem of plastics for a long time. If you remember, I spoke to Heather Davis, Mark Simpson and Sarah King back in February about this intimidatingly large problem. I had been reading Amanda's book Plastic Capitalism and couldn't stop thinking about some of the challenges that it makes. We talk a lot about the ideas in that book, but also unpack some of the more recent writing she's done. Incidentally, I'm excited about the project that she's currently working on, which focuses on the different ways we can visualize different environments, and especially the environments of the circumpolar North. One of the most important observations Amanda makes in this conversation is that when art reveals something, it's not necessarily “revealing something that's hidden.” Often, what art does, she says, is drag us “deeper into the mud.” Instead of illuminating some obscured part of social reality or offering up epiphanies about society and our relationship to wild nature, art that engages with waste communicates that we are awash in waste but don't know what to do with it; we have tons of plastic but not much plasticity; we're bent on accumulating energy but don't really value energy expenditure in any radical way. Most of it is mindless. If we don't get to the bottom of why this is such a feature of the modern human condition, we aren't likely to address the climate emergency. We're more likely to just replace fossil fuels with some other energy input like solar and change nothing about our arrogant attitude towards the fuels we extract for energy. There is a lot in this conversation on the need to be more conscious and critical about energy consumption. After all, it is dangerous to be anything else. But what Boetzkes is asking is whether we are in denial, too, about the “irrevocable” damage we've already done to the biosphere. Art, ecology and ethics form a “big knot,” as she puts it, and what is implicated is nothing short of how we choose to live on the Earth. She leaves us with the idea that, while art “must be political,” science is undermined if it's is too political. And yet, the examples she explores in her work question that assumption, or the opposition between art and science, in ways that help us rethink the distinctions that determine funding and influence our means of knowing the world before, during, and after oil.

What does it look like to actually exist within graduate school? Most grad and post-doc students spend their degrees carefully balancing their schooling alongside holding full-time jobs, building professional connections, supporting themselves financially and physically, and engaging in their creativity outside of school. This podcast explores the question: what does the world of academia look like while situated within these experiences, and how do graduate programs support their students with community and access to resources? Grace Oller and Hannah Warren are currently receiving their master's degrees in the Graduate School of Arts & Sciences at New York University. Grace attends the Institute of Fine Arts and is seeking a degree in Art History and Archeology, while Hannah is receiving her MA from the XE: Experimental Humanities and Social Engagement program. In this conversation, Grace and Hannah discuss what brought them to NYU, how they have navigated their first year, and what their hope is for the future of their programs, specifically addressing how community has been fostered in these spaces. This episode hopes to extend empathy to students facing the same battles, while providing a moment of contemplation for those who may exist outside of this specific realm of academia. As creatives and academics, Grace and Hannah explore the integration of art, education, and building connections with others. Grace Oller is a Graduate Student at New York University's Institute of Fine Arts (IFA) studying Modern and Contemporary Art History and Curatorial Practice. Born and raised in rural Ohio, she attended the Columbus College of Art and Design and received a BFA in Fine Arts with minors in Creative Writing and Art History. She has held positions as an Exhibition Assistant at the Columbus Museum of Art, co-editor in chief of the online publication, IFAcontemporary, and a contributing writer for a forthcoming book published by NYU's Grey Art Gallery celebrating the Anonymous Was a Woman award. Her work challenges ideas surrounding accessibility and labor in the art world, and you can find her around New York enjoying the delicious sounds of live jazz. Hannah J. Warren (she/her) grew up in Upstate NY but currently resides in Brooklyn, NY, obtaining a Master's degree in Experimental Humanities and Social Engagement from NYU. Hannah received her BA in English with an emphasis in writing, and a minor in Women and Gender Studies from Hartwick College in 2020. Recently Hannah has had poetry published in The Bookend Review, and has helped edit the poetry in her programs magazine Caustic Frolic. Beyond her joy for writing, Hannah enjoys spending her time traveling, reading, buying books, and trying to keep her plants alive. Hjw2170@nyu.edu. *This podcast, Past The Door, was recorded by Grace Oller and Hannah Warren, and edited by Hannah Warren.

Extinction Internet is not merely an end-of-the-world phantasy of digital technology that one day will be wiped out by an electromagnetic pulse or the cutting of cables. Rather, Extinction Internet marks the end of an era of possibilities and speculations, when adaptation is no longer an option. During the internet's Lost Decade, we've been rearranging the deck chairs on the Titanic under the inspirational guidance of the consultancy class. What's to be done to uphold the inevitable? We need tools that decolonize, redistribute value, conspire and organize. Join the platform exodus. It's time for a strike on optimization. There is beauty in the breakdown. Extinction Internet is Geert Lovink's inaugural lecture, held on November 18, 2022 as Professor of Art and Network Cultures, within Modern and Contemporary Art History, Faculty of Humanities, University of Amsterdam. Download the full pdf here: https://networkcultures.org/blog/publication/extinction-internet/ Recorded and edited by Tommaso Campagna Music by UVGLOV (https://soundcloud.com/anastasia-dolitsay)

With I Am Jugoslovenka!: Feminist Performance Politics During and After Yugoslav Socialism (Manchester UP, 2022), Jasmina Tumbas examines forms of feminist political and artistic engagement in Yugoslavia and its successor nations. By bringing together a wide range of materials—from performance and conceptual art, video works, film and pop music, lesbian activism, and press photos of female snipers in the Yugoslav wars—this study reveals that performative representations of women's emancipation were crucial for the rise of gender equality in the socialist project. Covering celebrated and lesser-known artists from the 1970s to today, I am Jugoslovenka offers a unique insight into the struggles and ambitions of Yugoslav women through the intersection of feminism, socialism, and nationalism in visual culture. Jasmina Tumbas is an Assistant Professor of Contemporary Art History and Performance Studies in the Department of Global Gender and Sexuality Studies at the University at Buffalo. Her research interests include feminist histories and theories of performance, body and conceptual art, art and activism, the politics of contemporary visual culture, socialist film, gender and sexuality in Eastern Europe after the Second World War, and contemporary activist art practices by ethnic Roma in the Balkan region. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. 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

With I Am Jugoslovenka!: Feminist Performance Politics During and After Yugoslav Socialism (Manchester UP, 2022), Jasmina Tumbas examines forms of feminist political and artistic engagement in Yugoslavia and its successor nations. By bringing together a wide range of materials—from performance and conceptual art, video works, film and pop music, lesbian activism, and press photos of female snipers in the Yugoslav wars—this study reveals that performative representations of women's emancipation were crucial for the rise of gender equality in the socialist project. Covering celebrated and lesser-known artists from the 1970s to today, I am Jugoslovenka offers a unique insight into the struggles and ambitions of Yugoslav women through the intersection of feminism, socialism, and nationalism in visual culture. Jasmina Tumbas is an Assistant Professor of Contemporary Art History and Performance Studies in the Department of Global Gender and Sexuality Studies at the University at Buffalo. Her research interests include feminist histories and theories of performance, body and conceptual art, art and activism, the politics of contemporary visual culture, socialist film, gender and sexuality in Eastern Europe after the Second World War, and contemporary activist art practices by ethnic Roma in the Balkan region. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

With I Am Jugoslovenka!: Feminist Performance Politics During and After Yugoslav Socialism (Manchester UP, 2022), Jasmina Tumbas examines forms of feminist political and artistic engagement in Yugoslavia and its successor nations. By bringing together a wide range of materials—from performance and conceptual art, video works, film and pop music, lesbian activism, and press photos of female snipers in the Yugoslav wars—this study reveals that performative representations of women's emancipation were crucial for the rise of gender equality in the socialist project. Covering celebrated and lesser-known artists from the 1970s to today, I am Jugoslovenka offers a unique insight into the struggles and ambitions of Yugoslav women through the intersection of feminism, socialism, and nationalism in visual culture. Jasmina Tumbas is an Assistant Professor of Contemporary Art History and Performance Studies in the Department of Global Gender and Sexuality Studies at the University at Buffalo. Her research interests include feminist histories and theories of performance, body and conceptual art, art and activism, the politics of contemporary visual culture, socialist film, gender and sexuality in Eastern Europe after the Second World War, and contemporary activist art practices by ethnic Roma in the Balkan region. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

With I Am Jugoslovenka!: Feminist Performance Politics During and After Yugoslav Socialism (Manchester UP, 2022), Jasmina Tumbas examines forms of feminist political and artistic engagement in Yugoslavia and its successor nations. By bringing together a wide range of materials—from performance and conceptual art, video works, film and pop music, lesbian activism, and press photos of female snipers in the Yugoslav wars—this study reveals that performative representations of women's emancipation were crucial for the rise of gender equality in the socialist project. Covering celebrated and lesser-known artists from the 1970s to today, I am Jugoslovenka offers a unique insight into the struggles and ambitions of Yugoslav women through the intersection of feminism, socialism, and nationalism in visual culture. Jasmina Tumbas is an Assistant Professor of Contemporary Art History and Performance Studies in the Department of Global Gender and Sexuality Studies at the University at Buffalo. Her research interests include feminist histories and theories of performance, body and conceptual art, art and activism, the politics of contemporary visual culture, socialist film, gender and sexuality in Eastern Europe after the Second World War, and contemporary activist art practices by ethnic Roma in the Balkan region. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

With I Am Jugoslovenka!: Feminist Performance Politics During and After Yugoslav Socialism (Manchester UP, 2022), Jasmina Tumbas examines forms of feminist political and artistic engagement in Yugoslavia and its successor nations. By bringing together a wide range of materials—from performance and conceptual art, video works, film and pop music, lesbian activism, and press photos of female snipers in the Yugoslav wars—this study reveals that performative representations of women's emancipation were crucial for the rise of gender equality in the socialist project. Covering celebrated and lesser-known artists from the 1970s to today, I am Jugoslovenka offers a unique insight into the struggles and ambitions of Yugoslav women through the intersection of feminism, socialism, and nationalism in visual culture. Jasmina Tumbas is an Assistant Professor of Contemporary Art History and Performance Studies in the Department of Global Gender and Sexuality Studies at the University at Buffalo. Her research interests include feminist histories and theories of performance, body and conceptual art, art and activism, the politics of contemporary visual culture, socialist film, gender and sexuality in Eastern Europe after the Second World War, and contemporary activist art practices by ethnic Roma in the Balkan region. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

With I Am Jugoslovenka!: Feminist Performance Politics During and After Yugoslav Socialism (Manchester UP, 2022), Jasmina Tumbas examines forms of feminist political and artistic engagement in Yugoslavia and its successor nations. By bringing together a wide range of materials—from performance and conceptual art, video works, film and pop music, lesbian activism, and press photos of female snipers in the Yugoslav wars—this study reveals that performative representations of women's emancipation were crucial for the rise of gender equality in the socialist project. Covering celebrated and lesser-known artists from the 1970s to today, I am Jugoslovenka offers a unique insight into the struggles and ambitions of Yugoslav women through the intersection of feminism, socialism, and nationalism in visual culture. Jasmina Tumbas is an Assistant Professor of Contemporary Art History and Performance Studies in the Department of Global Gender and Sexuality Studies at the University at Buffalo. Her research interests include feminist histories and theories of performance, body and conceptual art, art and activism, the politics of contemporary visual culture, socialist film, gender and sexuality in Eastern Europe after the Second World War, and contemporary activist art practices by ethnic Roma in the Balkan region. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices

With I Am Jugoslovenka!: Feminist Performance Politics During and After Yugoslav Socialism (Manchester UP, 2022), Jasmina Tumbas examines forms of feminist political and artistic engagement in Yugoslavia and its successor nations. By bringing together a wide range of materials—from performance and conceptual art, video works, film and pop music, lesbian activism, and press photos of female snipers in the Yugoslav wars—this study reveals that performative representations of women's emancipation were crucial for the rise of gender equality in the socialist project. Covering celebrated and lesser-known artists from the 1970s to today, I am Jugoslovenka offers a unique insight into the struggles and ambitions of Yugoslav women through the intersection of feminism, socialism, and nationalism in visual culture. Jasmina Tumbas is an Assistant Professor of Contemporary Art History and Performance Studies in the Department of Global Gender and Sexuality Studies at the University at Buffalo. Her research interests include feminist histories and theories of performance, body and conceptual art, art and activism, the politics of contemporary visual culture, socialist film, gender and sexuality in Eastern Europe after the Second World War, and contemporary activist art practices by ethnic Roma in the Balkan region. Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

The Marquis de Sade is known for his lurid and debauched erotic works, but there was more to him. Join us as we add this bizarre entryTwitter & Facebook: @macabrepediaInstagram: @macabrepediapodEmail us at: @Macabrepediapod@gmail.comRef:Alyce Mahon Reader in Modern and Contemporary Art History. (2020, October 23). Marquis de Sade: Depraved monster or misunderstood genius? it's complicated. The Conversation. Retrieved June 19, 2022, from https://theconversation.com/marquis-de-sade-depraved-monster-or-misunderstood-genius-its-complicated-145576 Encyclopædia Britannica, inc. (n.d.). Marquis de Sade. Encyclopædia Britannica. Retrieved June 19, 2022, from https://www.britannica.com/biography/Marquis-de-Sade Magazine, S. (2015, February 1). Who was the marquis de sade? Smithsonian.com. Retrieved June 19, 2022, from https://www.smithsonianmag.com/history/who-was-marquis-de-sade-180953980/ Support the show

“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

“I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating, thinking through, working through and devising. I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic. So many people have been watching Netflix, reading, singing music, playing music, making images, and making art as a way of getting through very difficult times and reflecting through that process. And in that sense, science compliments the arts, and the arts compliment the sciences because you can't get out of a situation without getting through it. So in order to get to the end of this sort of crisis, we have to be able to work through them. And so art becomes a very important means and space and time for being able to reflect, but also delve into thinking through and thinking where the situations we have at hand and the situations we find ourselves in.”Anthony Gardner is Professor of Contemporary Art History at the University of Oxford, where he was the Head of the Ruskin School of Art from 2017 to 2020. He has published widely on subjects including postcolonialism, postsocialism and curatorial histories. His books include Politically Unbecoming: Postsocialist Art against Democracy, and Biennials, Triennials and documenta: The exhibitions that created contemporary art, co-authored with Charles Green.· https://www.rsa.ox.ac.uk/people/anthony-gardner· https://www.rsa.ox.ac.uk· https://www.wiley.com/en-us/Biennials%2C+Triennials%2C+and+Documenta%3A+The+Exhibitions+that+Created+Contemporary+Art-p-9781444336641· www.creativeprocess.info · www.oneplanetpodcast.org

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney 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

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/economics

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Space or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth: The Politics of Contemporary Art Collections (Bloomsbury, 2022) is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum (Lund Humphries, 2022), Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney Learn more about your ad choices. Visit megaphone.fm/adchoices

In the past few years, museums of contemporary art have come under a fair deal of scrutiny. Pressures from groups such as Decoloinise This Place or the oxycontin scandal have forced changes to the governance of some of the world's best-known institutions. At the same time, the work of journalists and museum scholars has revealed that the relationships between trustees, curators, collections, and the public are often far more complex than the narratives of public benefit and private value would have us believe. Nizan Shaked's Museums and Wealth is a critical analysis of contemporary art collections and the value form. In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in ‘public trust' on behalf of the nation. Shaked argues that the public serves as an alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. In The Rise and Rise of the Private Art Museum, Georgina Adam tracks the phenomenon of the collector's museum in the 21st century. There are some 400 private art museums around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies', the picture is complex and nuanced. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Are museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? Georgina Adam and Nizan Shaked speak to Pierre d'Alancaisez about the 500-year history and the recent rise of the private art museum and consider if even public museums are, in the end, private. Georgina Adam is a journalist specialising in the art market. She writes for the Financial Times and The Art Newspaper. She is the author of Big Bucks and The Dark Side of the Boom. Nizan Shaked is a professor of Contemporary Art History, Museum and Curatorial Studies at California State University Long Beach. She is the author of The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Museum Susch The Fisher collection at SF MoMA Warren Kanders leaves the board of the Whitney ISBN 9781848223844 ISBN 9781350045767

Photographers and their images were critical to the making of Mozambique, first as a colony of Portugal and then as independent nation at war with apartheid in South Africa. When the Mozambique Liberation Front came to power, it invested substantial human and financial resources in institutional structures involving photography, and used them to insert the nation into global debates over photography's use. The materiality of the photographs created had effects that neither the colonial nor postcolonial state could have imagined. Filtering Histories: The Photographic Bureaucracy in Mozambique, 1960 to Recent Times (U Michigan Press, 2021) tells a history of photography alongside state formation to understand the process of decolonization and state development after colonial rule. At the center of analysis are an array of photographic and illustrated materials from Mozambique, South Africa, Portugal, and Italy. Thompson recreates through oral histories and archival research the procedures and regulations that engulfed the practice and circulation of photography. If photographers and media bureaucracy were proactive in placing images of Mozambique in international news, Mozambicans were agents of self-representation, especially when it came to appearing or disappearing before the camera lens. Drawing attention to the multiple images that one published photograph may conceal, Filtering Histories introduces the popular and material formations of portraiture and photojournalism that informed photography's production, circulation, and archiving in a place like Mozambique. The book reveals how the use of photography by the colonial state and the liberation movement overlapped, and the role that photography played in the transition of power from colonialism to independence. Dr. Thompson is currently an Associate Professor of Contemporary Art History and Visual Culture at Ryerson University's School of Image Arts. In January he'll join the Bard Graduate Center and Bard College an Associate Professor of Visual Culture and Black Studies. Sara Katz is a postdoctoral associate in the history department at Duke University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

Rebecca Anne Proctor is the former Editor-in-Chief of Harper’s Bazaar Art and Harper’s Bazaar Interiors, a role she held since January 2015. She is now an independent journalist and broadcaster covering contemporary art and current affairs in the Middle East and Africa. Her writing has been published in The New York Times Style Magazine; Bloomberg Businessweek, The Forward, Artnet News, Frieze, BBC, The Art Newspaper, The Forward, Arab News, Galerie, Ocula, The National, ArtNews and The Business of Fashion. She is an international consultant for Rizzoli Books and also regularly writes texts for books and catalogues on Middle Eastern and African art and culture. Rebecca obtained her M. Litt from Christie’s London in Modern and Contemporary Art History after which she worked at Gagosian Gallery before moving to Paris to pursue a double MA in Middle Eastern and Islamic Studies and Conflict Resolution from the American University of Paris and a Master’s in Sociologie des Conflits (Sociology of Conflicts) from the L’Institut Catholique, also in Paris. She is a highly in-demand speaker and moderator on art, culture and current affairs throughout the Middle East, Africa, Europe and the US. Through her work Rebecca argues that art and culture are a means to enhancing cross-cultural dialogue and peace in conflict burdened areas.  

On this episode, Michael is joined by Thomas Stubblefield, Associate Professor of Contemporary Art History and Media Studies at the University of Massachusetts, Dartmouth. Thomas is the author of the new book Drone Art: The Everywhere War as Medium (2020). More info on the book can be found at https://www.ucpress.edu/book/9780520339620/drone-art Drone Futures is hosted by Michael Richardson, Senior Research Fellow at the University of New South Wales, whose research examines the nexus of war, culture and technology. https://twitter.com/richardson_m_a Media Futures Hub works at the intersection of media and cultural studies to shape the theories, methods and practices needed for more just media futures. https://twitter.com/MediaFuturesHub

Amanda Sanfilippo Long would like to acknowledge the following correction: towards the end, she mentions the “High Line” as an exciting upcoming project coming up for Miami-Dade County, she meant to refer to the project as Miami’s “Underline”, which is a similar project to New York’s High Line, both projects designed by James Corner Field Operations. www.theunderline.org Amanda Sanfilippo Long is the Curator & Artist Manager of Art in Public Places, Miami-Dade County Department of Cultural Affairs. One of the first public art programs in the country (est. 1973), 1.5% of public land construction costs are allocated for the purchase or commission of artworks. With over 700 works of art in the collection, the program has gained international recognition. Amanda is the Director of the South Florida Cultural Consortium, and the Executive Director and Chief Curator of Fringe Projects. Amanda initiated and directed Art in Public Places’ co-presentation of the Creative Time Summit Miami, 2018. Amanda has held positions at Locust Projects, Miami, FL; Creative Time, New York, NY; The Whitney Museum of American Art, New York, NY; and the BCA Center, Burlington, VT. She holds an MA in Contemporary Art History, Sotheby’s Institute of Art, London; BA in Art History, University of Vermont. https://miamidadepublicart.org/ http://www.fringeprojectsmiami.com/

A presentation on the works of Alison Knowles by Nicole Woods, Assistant Professor, Modern and Contemporary Art History at the University of Notre Dame, brought to you by the Aspen Art Museum.

Catch up on this talk, exploring how 20th century artists have used eroticism in their work, and why it continues to challenge viewers and provoke controversy today. Speakers: Dr Alyce Mahon, Reader in Modern and Contemporary Art History, University of Cambridge, is a specialist in modern and contemporary art and their erotic politics. Rowan Pelling, editor of The Amorist and former editor of The Erotic Review. Adham Faramawy, artist and RA Schools alumnus. Dr Shahidha Bari, Senior Lecturer in Romanticism, Queen Mary University of London & Fellow of Forum for European Philosophy, London School of Economics

Elliott King is an Assistant Professor of Art History at Washington and Lee University, where he teaches modern and contemporary American and European art. His research focuses on Salvador Dali's work after the Second World War. Abigail Susik is an Associate Professor of Art History at Willamette University in Oregon, where she teaches Modern and Contemporary Art History in Europe and America. She has a radio show called "Studio Visit" on KFFP-LP 90.3 FM Freeform Portland, and local artists join her in the station for every episode.

How does literary reference affect the interpretation of largely abstract works? In her recent book, Reading Cy Twombly: Poetry in Paint (Princeton University Press, 2016), Mary Jacobus focuses on the artist’s use of poetry in his work, which often includes handwritten words and phrases—-naming or quoting poets ranging from Sappho, Homer, and Virgil to Mallarmé, Rilke, and Cavafy. In the artist’s own words, he “never really separated painting and literature.” Mary Jacobus's opening presentation will be followed by a wide-ranging discussion with Peter de Bolla (English) and Alyce Mahon (Art History) spanning both Twombly's work (currently the focus of a Pompidou retrospective) and that of his friend Robert Rauschenberg (currently the focus of a Tate Modern retrospective). Mary Jacobus, Professor Emerita of English at the University of Cambridge, was Director of CRASSH from 2006-2011. She has written widely on Romanticism, feminism, psychoanalysis, and visual art. Alyce Mahon is a Reader in Modern and Contemporary Art History at the Department of History of Art. She is currently researching the American Surrealist Dorothea Tanning (1910-2012) and curating the first major retrospective exhibition of Tanning for the Museo Nacional Centro de Arte Reina Sofía, Madrid for 2018-2019. Peter de Bolla is Professor of Cultural History and Aesthetics and Direct of the Concept Lab at CRASSH.

Why does painting matter? We discuss: La la Land, New Sincerity, Edvard Munch, The Scream, Impressionism, and the art of children. Join us for a great conversation with our friend Dr. Dan Siedell. Our guest is Director of Whale & Star, the Miami-based studio of artist Enrique Martínez Celaya, where he oversees research and development. He is visiting professor at Knox Theological Seminary and Kings College, NY. Previously, he taught modern and contemporary art history, theory, and criticism at the University of Nebraska-Omaha. He was also Chief Curator of the Sheldon Museum of Art at the University of Nebraska-Lincoln for eleven years.   He holds a Ph.D. in Modern and Contemporary Art History, Theory, and Criticism. University of Iowa (1995), and an M.A. inArt History, Theory, and Criticism. SUNY Stony Brook (1991). He's the author of God in the Gallery: A Christian Embrace of Modern Art (Baker Academic, 2008) and Who's Afraid of Modern Art?: Essays on Modern Art and Theology in Conversation (Cascade, 2015). virtueinthewasteland.com 1517legacy.com  

Danielle Chang created LUCKYRICE to follow her passion for creating a platform for Asian culture. Her career has always revolved around pop culture, storytelling, and entrepreneurship. She began her career at The New York Times and later founded and published the lifestyle magazine, Simplycity. After earning her master’s degree in Critical Theory from Columbia University, she was a Professor of Contemporary Art History as well as a curator of emerging art. Most recently, she was CEO of Vivienne Tam, a fashion company, and, prior to that, the managing director of Assouline, a French creative advertising agency. Her focus today is the culinary arts. Danielle’s first cookbook, Lucky Rice: Stories and Recipes from Night Markets, Feasts, and Family Tables, was just released and brings alive the flavors of Asian cuisine. Danielle is currently the host and producer of Lucky Chow. Suzanne Cupps is Chef de Cuisine at Untitled and Studio Cafe, both in the Whitney Museum of American Art in New York. As a child, Suzanne often dodged her mother’s requests for help in the kitchen, and it wasn’t until the end of her undergraduate years at Clemson University that she began to consider cooking as a potential career. Suzanne’s first job in the hospitality industry was an HR administrator position at the Waldorf Astoria, where she realized that her interests lay firmly in the kitchen. Soon after, Suzanne enrolled in the Institute of Culinary Education and found the atmosphere of a professional kitchen to her liking. After graduating from ICE in 2005, Suzanne began her culinary career with Union Square Hospitality Group as an extern at Gramercy Tavern. She then went on to hone her skills at Anita Lo’s restaurant Annisa. In 2011, Suzanne returned to Gramercy Tavern as a line cook. Most recently, she held the position of Tavern Sous Chef.

An interdisciplinary discussion exploring the many possible approaches to representing science through the arts, as well as potential challenges The discussion begins with a presentation by Dr Kirsten Shepherd-Barr (Associate Professor in Modern Drama, University of Oxford) examining plays that have included scientific content from the Victorian era to Tom Stoppard and Michael Frayn. She will also explore the concept of “mediation”, examining how Frayn and Stoppard mediate the science using biography, history, and metaphor. This will be followed by responses from Professor Heidi Johansen-Berg (Professor of Cognitive Neuroscience, University of Oxford), Dr Jason Gaiger (Associate Professor, Contemporary Art History, University of Oxford) and Annie Cattrell (Artist, Tutor at the Royal College of Art and Reader in Fine Art at DeMontfort University). The discussion is chaired by Dr Dan O'Connor (Head of Humanities and Social Science, Wellcome Trust).

Internationally renowned artist Enrique Martínez Celaya was Visiting Presidential Professor at the University of Nebraska during 2007-2010. His visits to Nebraska inspired The Nebraska Suite, premiering at MONA April 19 through June 5, 2011. Dr. Dan Siedell, Assistant Professor, Modern and Contemporary Art History, University of Nebraska at Omaha, gives an insight to the artist and his work.