Podcast appearances and mentions of georgina adam

A 2025 preview: Georgina Adam, our editor-at-large, tells host Ben Luke what might lie ahead for the market. And Ben is joined by Jane Morris, editor-at-large, and Gareth Harris, chief contributing editor, to select the big museum openings, biennials and exhibitions.All shows discussed are in The Art Newspaper's The Year Ahead 2025, priced £14.99 or the equivalent in your currency. Buy it here.Exhibitions: Site Santa Fe International, Santa Fe, US, 28 Jun-13 Jan 2026; Liverpool Biennial, 7 Jun-14 Sep; Folkestone Triennial, 19 Jul-19 Oct; Ruth Asawa: A Retrospective, San Francisco Museum of Modern Art, 5 Apr-2 Sep; Museum of Modern Art (MoMA), New York, 19 Oct-7 Feb 2026; Gabriele Münter, Guggenheim Museum, New York, 7 Nov-26 Apr 2026; Musée d'Art Moderne de Paris, 4 Apr-24 Aug; Elizabeth Catlett: a Black Revolutionary Artist, Brooklyn Museum, New York, until 19 Jan; National Gallery of Art (NGA), Washington DC, 9 Mar-6 Jul; Art Institute of Chicago, US, 30 Aug-4 Jan 2026; Ithell Colquhoun, Tate Britain, London, 13 Jun-19 Oct; Abstract Erotic: Louise Bourgeois, Eva Hesse, Alice Adams, Courtauld Gallery, London, 20 Jun-14 Sep; Michaelina Wautier, Kunsthistorisches Museum, Vienna, 30 Sep-25 Jan 2026; Radical! Women Artists and Modernism, Belvedere, Vienna, 18 Jun-12 Oct; Dangerously Modern: Australian Women Artists in Europe, Art Gallery of South Australia, Adelaide, 24 May-7 Sep; Art Gallery of New South Wales, Sydney, 11 Oct-1 Feb 2026; Lorna Simpson: Source Notes, Metropolitan Museum of Art, New York, 19 May-2 Nov; Amy Sherald: American Sublime, SFMOMA, to 9 Mar; Whitney Museum of American Art, New York, 9 Apr-Aug; National Portrait Gallery, Washington DC, 19 Sep-22 Feb 2026; Shahzia Sikander: Collective Behavior, Cincinnati Art Museum, 14 Feb-4 May; Cleveland Museum of Art, US, 14 Feb-8 Jun; Cantor Arts Center, Stanford, US, 1 Oct-25 Jan 2026; Jenny Saville: The Anatomy of Painting, National Portrait Gallery, London, 20 Jun-7 Sep; Linder: Danger Came Smiling, Hayward Gallery, London, 11 Feb-5 May; Arpita Singh, Serpentine Galleries, London, 13 Mar-27 Jul; Vija Celmins, Beyeler Collection, Basel, 15 Jun-21 Sep; An Indigenous Present, ICA/Boston, US, 9 Oct-8 Mar 2026; The Stars We Do Not See, NGA, Washington, DC, 18 Oct-1 Mar 2026; Duane Linklater, Dia Chelsea, 12 Sep-24 Jan 2026; Camden Art Centre, London, 4 Jul-21 Sep; Vienna Secession, 29 Nov-22 Feb 2026; Emily Kam Kngwarray, Tate Modern, London, 10 Jul-13 Jan 2026; Archie Moore, Queensland Gallery of Modern Art, 30 Aug-23 Aug 2026; Histories of Ecology, MASP, Sao Paulo, 5 Sep-1 Feb 2026; Jack Whitten, Museum of Modern Art, New York, 23 Mar-2 Aug; Wifredo Lam, Museum of Modern Art, Rashid Johnson, Solomon R. Guggenheim Museum, New York, 18 Apr-18 Jan 2026; Adam Pendleton, Hirshhorn Museum and Sculpture Garden, Washington DC, 4 Apr-3 Jan 2027; Marie Antoinette Style, Victoria and Albert Museum, London, 20 Sep-22 Mar 2026; Leigh Bowery!, Tate Modern, 27 Feb- 31 Aug; Blitz: the Club That Shaped the 80s, Design Museum, London, 19 Sep-29 Mar 2026; Do Ho Suh, Tate Modern, 1 May-26 Oct; Picasso: the Three Dancers, Tate Modern, 25 Sep-1 Apr 2026; Ed Atkins, Tate Britain, London, 2 Apr-25 Aug; Turner and Constable, Tate Britain, 27 Nov-12 Apr 2026; British Museum: Hiroshige, 1 May-7 Sep; Watteau and Circle, 15 May-14 Sep; Ancient India, 22 May-12 Oct; Kerry James Marshall, Royal Academy of Arts, London, 20 Sep-18 Jan 2026; Kiefer/Van Gogh, Royal Academy, 28 Jun-26 Oct; Anselm Kiefer, Ashmolean Museum, Oxford, 14 Feb-15 Jun; Anselm Kiefer, Van Gogh Museum, Stedelijk Museum, Amsterdam, 7 Mar-9 Jun; Cimabue, Louvre, Paris, 22 Jan-12 May; Black Paris, Centre Pompidou, Paris, 19 Mar-30 Jun; Machine Love, Mori Art Museum, Tokyo, 13 Feb-8 Jun Hosted on Acast. See acast.com/privacy for more information.

Friends for fifty years, Sigourney Weaver and Selina Cadell discuss acting together in the Jamie Lloyd Company's new production of Shakespeare's The Tempest. As part of the BBC's Scam Safe week, we examine whether art fraud is on the rise with Georgina Adam from the Art Newspaper and and the lawyer Amanda Gray, a specialist from the firm Mishcon De Reya. And, musician Nitin Sawhney talks about his two new works Heart Suite, about by his recent heart attack, and Orbital, which is inspired by this year's Booker prize winner, Orbital by Samantha Harvey. Presenter: Samira Ahmed Producer: Ruth Watts

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

This week: it's the second year of Paris +, the event that has taken over from Fiac as the leading French art fair. How is Art Basel's French flagship faring amid geopolitical turmoil and economic uncertainty, and is Paris still on the rise as a cultural hub? We speak to Georgina Adam, an editor-at-large at The Art Newspaper, and Kabir Jhala, our deputy art market editor, who are in Paris, to find out. The largest ever exhibition of the work of the Japanese photographer Hiroshi Sugimoto opened last week at the Hayward Gallery in London, before travelling to Beijing and Sydney next year. We talk to its co-curator Thomas Sutton. And this episode's Work of the Week is La femme-cheval or the Horse-Woman, a painting made in 1918 by the French artist Marie Laurencin. She is the subject of a major survey, called Sapphic Paris, opening this week at the Barnes Foundation in Philadelphia in the US. Cindy Kang, who co-curated the exhibition, tells us more about this landmark work in Laurencin's life.Paris +, 20-22 October.Hiroshi Sugimoto: Time Machine, Hayward Gallery, London, until 7 January 2023; UCCA Center for Contemporary Art, Beijing, 23 March-23 June 2024; The Museum of Contemporary Art, Sydney, Australia, 2 August-27 October 2024.Marie Laurencin: Sapphic Paris, Barnes Foundation, Philadelphia, US, 22 October-21 January. Hosted on Acast. See acast.com/privacy for more information.

It's our 250th podcast, and in this special episode we focus on the future. We ask leading figures across the art world to tell us about their hopes and concerns for the visual arts. Among them are Max Hollein, the director of the Metropolitan Museum of Art in New York, Bénédicte Savoy, the co-author of the Saar-Savoy report into the restitution of cultural heritage, Shanay Jhaveri, the head of visual arts at the Barbican, the Berlin-based curator Bonaventure Soh Bejeng Ndikung, Kymberly Pinder, the dean of Yale School of Art, and the artist Tomás Saraceno. Host Ben Luke is then joined by three core members of The Art Newspaper's team and regular guests in the first 249 episodes of this podcast: editors-at-large Cristina Ruiz and Georgina Adam and our contemporary art correspondent Louisa Buck discuss the present and future of museums and heritage, art and artists and the art market. Hosted on Acast. See acast.com/privacy for more information.

What is the role of contemporary art museums today? Are biennales and art fairs platforms for experiment and exchange, or little more than social attractions for the elite? Have collectors become the new curators? Are private and corporate interests in culture at odds with the public good? And ultimately, who is art for? In this debate recorded in Hong Kong in 2012, award-winning documentary film-maker, author and art critic, Ben Lewis, and Hong Kong-born artist, Paul Chan, spoke for the motion. Former Director of Sydney's Museum of Contemporary Art, Elizabeth Ann Macgregor, and conceptual art pioneer, Joseph Kosuth, spoke against the motion. Our chair was the writer, art market expert and author, Georgina Adam. We'd love to hear your feedback and what you think we should talk about next, who we should have on and what our future debates should be about. Send us an email or voice note with your thoughts to podcasts@intelligencesquared.com.  At Intelligence Squared we've got our own online streaming platform, Intelligence Squared+ and we'd love you to give it a go. It's packed with more than 20 years' worth of video debates and conversations on the world's most important topics as well as exclusive podcast content. Tune in to live events, ask your questions or watch on-demand, totally ad-free with hours of discussion to dive into. Visit intelligencesquaredplus.com to start watching today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Georgina Adam is a journalist and author who has been writing about the interactions of art and finance since the 1980's. From 2000 until 2008 she was the Art Market Editor of The Art Newspaper where she is currently the Editor-at-Large. She is a contributor to the Financial Times Life & Arts Section, and lectures at Sotheby's and Christie's institutes in London. Georgina initially studied Islamic Art at the Ecole du Louvre and also lived for five years in Japan. She is the author of three books about the art market – Big Bucks: The Explosion of the Art Market in the 21st Century (Lund Humphries, 2014), Dark Side of the Boom: The Excesses of the Art Market in the 21st Century (Lund Humphries, 2018); and most recently The Rise and Rise of The Private Museum (2021). She is membership chair of Cromwell Place in London, and a member of the International Association of Art Critics (AICA) and The International Art Market Studies Association (TIAMSA). Interview with Georgina Adam recorded by Michael Dooney on 4. November 2021 in London, UK. NOTES Full episode transcript (online soon) Georgina Adam The Art Newspaper: https://www.theartnewspaper.com/authors/georgina-adam LinkedIn: https://www.linkedin.com/in/georgina-adam-15971b12a/ Instagram: https://www.instagram.com/georginacadam/ Books: Big Bucks: The Explosion of the Art Market in the 21st Century Dark Side of the Boom: The Excesses of the Art Market in the 21st Century The Rise and Rise of the Private Art Museum How the Scull Sale Changed the Art Market, Anna Louie Sussman Charles Saatchi: the man who reinvented art, Ben Lewis François Pinault purchases Christie's auction house, Adrian Hamilton Ready to plunge in? The rise and rise of immersive art, Peter Conrad London Grads Now.21, exhibition at Saatchi Gallery The UBS and Art Basel Annual Report Not so metadiverse: women account for just 16% of NFT art market, Annie Shaw Michael Dooney Official: http://www.michaeldooney.net/ Twitter: https://twitter.com/michaeldooney_ Instagram: https://www.instagram.com/michaeldooney/ LinkedIn: https://www.linkedin.com/in/michaeldooney/ YouTube: https://www.youtube.com/c/MichaelDooney Subtext & Discourse Podcast Apple Podcasts, Spotify, etc: https://pod.link/1475402385 Instagram: https://www.instagram.com/subtextanddiscourse/ JARVIS DOONEY Gallery Official: https://www.jarvisdooney.com/ Artsy: https://www.artsy.net/partner/jarvis-dooney Instagram: https://www.instagram.com/jarvisdooney/

Vincent Van Gogh's Sunflowers in Tokyo are the subject of a legal claim in the US relating to Nazi loot. The Art Newspaper's London correspondent and resident Van Gogh expert Martin Bailey tells us why Sunflowers (1888-89) is at the centre of the dispute, 35 years after it was sold for a record price at auction, and why the heirs of the German Jewish banker Paul von Mendelssohn-Bartholdy, who owned it until the 1930s, now value it at a staggering $250m. Our editor-at-large Georgina Adam has just returned from Singapore, where the first Art SG art fair took place last week. How successful was this new event in the art market calendar, and what does it tell us about Singapore's ambitions to become an art hub? And this episode's Work of the Week is Portraits in a Chinese Studio, a photographic work by the artist Grace Lau. In the project, which marks Chinese New Year, Lau is subverting the tradition of colonial 19th-century portrait studios in a shopping centre in Southampton on the south coast of the UK.Grace Lau: Portraits in a Chinese Studio, Marlands Shopping Centre, Southampton, UK, 21 January-12 February Hosted on Acast. See acast.com/privacy for more information.

Ben Luke talks to Hannah McGivern, a correspondent for The Art Newspaper who has just been to Qatar, about the vast number of public art projects that will accompany the FIFA Men's World Cup that begins there on Sunday 20 November. She also discusses the museums that Qatar plans to open by 2030. How does this explosion of cultural initiatives sit with Qatar's record on human rights and treatment of low-paid migrant workers in the building of its cultural venues and World Cup stadia? It has been a heady fortnight of auctions in New York. Ben speaks to Georgina Adam, an editor-at-large at The Art Newspaper, about the highs and lows, and whether we can expect even more sales of blockbuster collections in the coming years. And this episode's Work of the Week is an untitled painting by Luis Meque, an artist born in Mozambique who came to fame in the 1980s and early-1990s in Zimbabwe. Tandazani Dhlakama, the curator of the exhibition When We See Us: A Century of Black Figuration in Painting at Zeitz Museum of Contemporary Art Africa in Cape Town, tells us about Meque's painting and his brief and brilliant life.When We See Us: A Century of Black Figuration in Painting, Zeitz Museum of Contemporary Art Africa, Cape Town, South Africa, 20 November-3 September 2023 Hosted on Acast. See acast.com/privacy for more information.

This week: Georgina Adam joins Ben Luke to discuss the intriguing story of the bankrupt entrepreneur and art collector, the museum scholar and a host of Old Master paintings given new attributions. We talk to Suzanne Pagé, the curator of Monet-Mitchell, an exhibition bringing together the Impressionist Claude Monet and the post-war American abstract painter Joan Mitchell, at the Fondation Louis Vuitton in Paris. And this episode's Work of the Week is a 1583 painting of Elizabeth I of England, known as the Sieve Portrait, which is one of the highlights of the Metropolitan Museum of Art in New York's exhibition The Tudors: Art and Majesty in Renaissance England. The show's curators, Elizabeth Cleland and Adam Eaker, tell us about this richly layered picture.Monet-Mitchell, Joan Mitchell retrospective, Fondation Louis Vuitton, Paris, until 27 February 2023. Joan Mitchell: Paintings, 1979-85, David Zwirner, New York, 3 November-17 December.The Tudors: Art and Majesty in Renaissance England, Metropolitan Museum of Art, New York, 10 October-8 January 2023 Hosted on Acast. See acast.com/privacy for more information.

A missing Picasso — recently spotted in the home of Imelda Marcos, the former First Lady of the Philippines — has the art world and former Philippine investigators chattering. We talk to Ruben Carranza, who worked on the investigations into the Marcos' wealth; and art journalist Georgina Adam.

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

This week, we visit the Royal Academy in London, where a new show looking at Francis Bacon's use of animal imagery, Man and Beast, is about to open. The RA's director, Axel Rüger sheds light on Bacon's means of transposing the animal into the human figure. We talk to our editor-at-large, Georgina Adam, about The Man of Sorrows, the Botticelli painting sold at auction this week—and we find out if it went beyond its guaranteed sale price of $40m. We also talk about the big art market news of the week: that MCH Group, the owner of the Art Basel fairs, is to take over Fiac's slot at the Grand Palais in Paris to host a new contemporary art fair in October. And in this episode's Work of the Week, Aimee Dawson talks to Megan Merritt of the Asian Art Museum in San Francisco, about a pair of works in Seeing Gender, a new exhibition that explores the museum's collection through the lens of gender for the first time: a contemporary piece on paper by the Chinese artist Wilson Shieh and a 20th-century carved sculpture by the Indonesian artist Ida Bagus Putu Taman. See acast.com/privacy for privacy and opt-out information.

In this first episode of 2022, The Art Newspaper's contemporary art correspondent Louisa Buck and the novelist and columnist at The Art Newspaper Chibundu Onuzo preview the year's biennials, exhibitions and art fairs and our editor-at-large Georgina Adam has a stab at predicting the art market's fortunes. Events discussed: Venice BiennaleDocumenta 15Biennale of SydneyBerlin Biennale Whitney Biennial 2022Carnegie InternationalDonatello: the RenaissanceSteve McQueenCharles Ray: Sculpture FictionWorlds of NetworksThe World of StonehengeTestamentHew Locke: Tate Britain Commission 2022Cornelia ParkerSurrealism Beyond BordersIn the Black FantasticAnthea HamiltonFaith Ringgold: American PeoplePhilip Guston: NowCézanne50 Monuments in 50 VoicesMatisse: The Red Studio See acast.com/privacy for privacy and opt-out information.

This week, we look at the case of the art dealer Inigo Philbrick, who pleaded guilty to fraud in a New York court last week: is the art world, as his attorney claimed, “corrupt from top to bottom”? Georgina Adam, editor-at-large at The Art Newspaper gives her response. For this epsiode's Work of the Week, we talk to Carmen Hermo, the curator of the exhibition Andy Warhol: Revelation at the Brooklyn Museum, about a painting in the show, New York Post (Judge Blasts Lynch) (1983), and what it tells us about Warhol's Catholicism. And as GES-2 House of Culture, the V-A-C Foundation's huge cultural centre in a former power station transformed by architect Renzo Piano, opens in Moscow next week, and the Garage Museum in the Russian capital announces its expansion into a landmark Modernist building in Gorky Park, we talk to Anna Bronovitsksya, architectural historian and professor at the Moscow Architecture School about these museums and the wider political situation in which they are being constructed. See acast.com/privacy for privacy and opt-out information.

Elles font le marché, le 3ème mercredi du mois à 19h. Le premier podcast sur le marché de l'art au regard féminin. Proposé par Les Soirées des Femmes du marché de l'art et Art District Radio. Une série de documentaires sonores de 28 min. qui croise témoignages, réflexion et expertise de celles qui évoluent au sein du marché de l'art français pour l'évoquer sous le prisme de leur regard de femmes. Ce 10ème épisode est consacré à la 3ème édition du The Art Market Day, journée spéciale, bouillonnante, qui a réuni au Centre Pompidou, le 16 novembre 2021, les principaux acteurs du marché de l'art. Porté par le Quotidien de l'Art du groupe de médias Beaux-Arts et Cie, cet événement a abordé plusieurs grandes thématiques actuelles afin d'en dessiner les contours et d'éveiller les réflexions. Des tables-rondes, un start-up village et des présentations de solutions innovantes ont rythmé cette journée qui a accueilli des professionnels de différents secteurs : galeries, maisons de vente, experts, assureurs, transporteurs, journalistes, observateurs, directeurs d'institutions et de foires, investisseurs et artistes… Une dimension encore plus internationale cette année avec plusieurs intervenants venus de l'étranger. A notre micro, Imogène Prus de Convelio, société de transport d'œuvres d'art partage son point de vue sur les objectifs à atteindre en termes de réduction des émissions carbone et de responsabilité environnementale. Un véritable défi à l'heure de la mondialisation du marché de l'art et en miroir de la COP 26. De leurs côtés, Clara Rivollet, spécialiste en art du XXe siècle et contemporain chez Phillips et Georgina Adam, journaliste et observatrice du marché, évoquent la place du continent asiatique, qui a tout d'un nouvel eldorado pour le marché… Enfin, Armelle Dakouo, directrice artistique de la foire Akaa spécialisée en art contemporain et design africain tire le bilan de la 6ème édition qui a eu lieu au Carreau du Temple du 12 au 14 novembre et aborde la nouvelle dynamique du marché de l'art africain alors que la table-ronde à laquelle elle participait tentait de décrypter l'envolée des prix de certaines œuvres sur ce marché. Bulle spéculative ou rattrapage du marché titrait la conférence ?  D'autres tables-rondes ont traité de la question de NFT ou de l'arrivée des metaverses comme nouveaux canaux de vente, autant de nouvelles pratiques qui reflètent un marché de l'art en pleine transformation en écho aux grandes problématiques socio-économiques. Idée originale : Céline Aâssila & Julie Chaizemartin Narration : Julie Chaizemartin Réalisation : Art District Radio Logo : Mojito Fraise

When a collage of digital images was sold in New York earlier this year for £50 million, the art world was convulsed. The reason? The picture couldn't be hung on a wall and was only visible online. What had been bought and sold was the non-fungible token - or NFT - relating to the collage. David Aaronovitch and his guests discover how NFTs work for those who sell and those who buy them and also consider if NFTs are a passing fad or an aspect of our culture that is becoming increasingly common and might lead to the emergence of a future John Constable or Tracy Emin, eventually spreading to and influencing other art forms.Enter the Briefing Room and find out why collectors are investing in NFTs; how easy it is to spot a fake and what you can do about it; and whether non-fungibles will be an enduring part of the artistic - and investment - worlds in the years ahead.Those taking part include: Georgina Adam of The Art Newspaper; investor in NFTs and co-founder and chief executive of the Arts and culture portal Vastari, Bernardine Bröcker Wieder; and the art historian, former art dealer and presenter of the BBC FOUR series, Britain's Lost Masterpieces, Bendor Grosvenor.Producers Simon Coates and Bob Howard Editor Jasper CorbettImage: Visitors to "Machine Hallucinations - Space: Metaverse" by Refik Anadol, which will be auctioned online as an NFT at Sothebys, at the Digital Art Fair, Hong Kong Credit: REUTERS/Tyrone Siu

This week: is the burgeoning phenomenon of private museums, founded by billionaires and corporations, undermining our public cultural institutions? We talk to Georgina Adam about her new book, The Rise and Rise of the Private Art Museum. Also, Nancy Kenney explores a huge new museum that has just opened in Los Angeles, the Academy Museum of Motion Pictures, and hears from its curators Doris Berger and Ana Santiago, who have sought to question and expand the traditional Hollywood narrative by highlighting some painful film industry stories—including systemic racism—and incorporating an international array of creators, including the Studio Ghibli lynchpin, Hayao Miyazaki. And in this week's Work of the Week, as the Rijksmuseum in Amsterdam opens Remember Me, an extraordinary exhibition of Renaissance portraits, Matthias Ubl, the show's curator discusses one of the many highlights: Piero di Cosimo's portraits of the architect Giuliano da Sangallo and his father Francesco Giamberti, made around 1482–85. See acast.com/privacy for privacy and opt-out information.

For the third episode of "Reading the Art World," host Megan Fox Kelly speaks with journalist and art market expert Georgina Adam, whose new book, "The Rise and Rise of the Private Art Museum," looks into the global proliferation of the private museum and its implications for society and the arts.Reading the Art World  is a live interview and podcast series with leading art world authors hosted by art advisor, Megan Fox Kelly.   The conversations  explore timely subjects in the world of art, design, architecture, artists and the art market and is an opportunity to engage further with the minds behind these insightful new publications.Megan Fox Kelly is an art advisor and President of the Association of Professional Art Advisors, who works with collectors, estates and foundations.  For more information , visit www.meganfoxkelly.comMusic composed by Bob Golden.

On this episode of Why Watch That:SNEAK PEEKI Carry You With MeWebsite: Sony Pictures ClassicsSynopsis: Based on true love, this decades spanning romance begins in Mexico between an aspiring chef and a teacher. Their lives restart in incredible ways as societal pressure propels the couple to embark on a treacherous journey to New York with dreams, hopes, and memories in tow.Release Date: Opens Friday, June 25, 2021 in NY and LA (with a national rollout throughout July)Directed by: Heidi EwingScreenplay by: Heidi Ewing and Alan Page ArriagaStarring: Armando Espitia, Christian Vázquez, Michelle Rodríguez, Ángeles Cruz, Raúl Briones, and Arcelia RamírezDistributed by: Sony Pictures ClassicsGenre: DramaRunning Time: 1 hour 51 minutesRated RTRIBECA FILM FESTIVAL 2021 WRAP-UPFeatured Narrative Films:No Man of GodWebsite: TribecaTribeca Film Festival Synopsis: It was a radical new approach to criminal investigations: “profiling.” Through one-on-one discussions with serial offenders, FBI researchers could go much more in-depth. FBI analyst Bill Hagmaier (Elijah Wood), emboldened by this new philosophy, sat down with famed serial killer Ted Bundy (Luke Kirby) for several interviews from 1984-1989 inside Florida State Prison, in hopes of figuring out why Bundy murdered more than 20 victims. What started out as a straightforward informational assignment gradually turned personal for Hagmaier, whose feelings about his charismatic subject grew more complicated with each conversation. Is it possible to empathize with evil?Studies of Ted Bundy's life and crimes have been in vogue lately, but this two-character study from director Amber Sealey is the most sober and psychologically intricate look at the killer's story yet. With a pair of dynamic performances at its center, particularly that of an exceptional Kirby as Bundy, No Man of God is riveting in its intimate chamber piece structure. Sealey and company, including writer Kit Lesser, who based the screenplay on real-life transcripts, don't glamourize the oft-romanticized Bundy; instead, No Man of God deftly balances emotional complexity and clear-eyed truthfulness. —Matt BaroneRelease Date: In theaters and available on demand and digital August 27, 2021Directed by: Amber SealeyScreenplay by: Kit LesserStarring: Elijah Wood, Luke Kirby, Aleksa Palladino, and Robert PatrickDistributed by: RLJE FilmsGenre: Drama, ThrillerRunning Time: 1 hour 40 minutesNot RatedIndia Sweets and SpicesWebsite: TribecaTribeca Film Festival Synopsis: On her summer break from college, outspoken Indian American freshman Alia returns home to her wealthy New Jersey suburb and for the first time pushes back against her parents' pretentious lifestyle. After a year at UCLA, she's eager to trade in the family's lavish Saturday-night dinner parties and the gossiping “aunties” of her community for a more meaningful existence—even if she doesn't quite know what that looks like yet. When Alia meets Varun (Rish Shah), the handsome son of local shopkeepers, she impulsively invites him to her straitlaced mother's upcoming extravagant soiree, and accidentally uncovers a pair of family secrets in the process. In this fresh take on the classic coming of age story, writer-director Geeta Malik brings a tongue in cheek sense of humor and an acute understanding of class privilege to an award winning script. And actress Sophia Ali delivers a charming performance as the rebellious leading lady who confronts her parents' values in order to understand her own evolving identity. —Lucy MukerjeeNo release date yetDirected by: Geeta MalikScreenplay by: Geeta MalikStarring: Sophia Ali, Manisha Koirala, Adil Hussain, Deepti Gupta, Rish Shah, and Ved SapruGenre: Comedy, Drama, RomanceRunning Time: 1 hour 41 minutes12 Mighty OrphansWebsite: Official SiteTribeca Film Festival Synopsis: 12 Mighty Orphans tells the true story of the Mighty Mites, the football team of a Fort Worth orphanage who, during the Great Depression, went from playing without shoes—or even a football—to playing for the Texas state championships. Over the course of their winning season these underdogs and their resilient spirit became an inspiration to their city, state, and an entire nation in need of a rebound, even catching the attention of President Franklin D. Roosevelt. The architect of their success was Rusty Russell, a legendary high school coach who shocked his colleagues by giving up a privileged position so he could teach and coach at an orphanage. Few knew Rusty's secret: that he himself was an orphan. Recognizing that his scrawny players couldn't beat the other teams with brawn, Rusty developed innovative strategies that would come to define modern football.Release Date: Opens in Texas Friday, June 11, 2021 and everywhere Friday, June 18, 2021Directed by: Ty RobertsScreenplay by: Ty Roberts, Lane Garrison, Kevin MeyerStarring: Luke Wilson, Vinessa Shaw, Martin Sheen, Robert Duvall, Wayne Knight, Jake Austin Walker, Lane Garrison, Levi Dylan, Jacob Lofland, Treat Williams, and Scott HazeDistributed by: Sony Pictures ClassicsGenre: Drama, History, SportsRunning Time: 1 hour 58 minutesRated PG-13Werewolves WithinWebsite: Official SiteTribeca Film Festival Synopsis: Forest ranger Finn Wheeler (Veep's Sam Richardson) is jazzed about his latest assignment: temporarily living inside The Beaverfield Inn, a cozy, woods-bound nook run by nice folks and frequented by Beaverfield's colorful array of residents, for the duration of a new pipeline construction project. Little does he realize, his timing couldn't be worse. For one, a major snowstorm is set to rid him and the inn's occupants of communication with the outside world. And two, something is on the loose and brutally murdering Beaverfield's denizens—perhaps something lycanthropic. As the body count rises, it's up to Finn to play the reluctant hero and figure what, or who, is shrinking Beaverfield's population.Building on the horror-comedy fun of his 2020 debut, Scare Me (a Shudder Exclusive), director Josh Ruben expands both his storytelling scope and offbeat hilarity quotient with this delightfully macabre whodunit/monster movie, based on Ubisoft's popular VR game of the same name. It's also the perfect leading man vehicle for Richardson, whose lovable everyman charms complement a strong cast of TV comedy fan favorites, including AT&T commercial fixture Milana Vayntrub, Casual's Michaela Watkins and What We Do in the Shadows' Harvey Guillén. —Matt BaroneRelease Date: Opens in theaters and drive-ins Friday, June 25, 2021; Everywhere you rent movies Friday, July 2, 2021Directed by: Josh RubenScreenplay by: Mishna WolffStarring: Sam Richardson, Milana Vayntrub, Michaela Watkins, Cheyenne Jackson, Glenn Fleshler, and Harvey GuillénDistributed by: IFC FilmsGenre: Comedy, Horror, MysteryRunning Time: 1 hour 37 minutesRated RFalse PositiveWebsite: HuluTribeca Film Festival Synopsis: After difficult struggles with fertility, loving couple Lucy (Ilana Glazer) and Adrian (Justin Theroux) seem to have finally found their potential savior in the charming and world-renowned reproductive specialist Dr. Hindle (Pierce Brosnan). But as their dreams begin to come true and hope transforms to happiness, cracks start to appear in the façade of normalcy, sending the now-expectant mother into a spiral of suspicion that threatens her grasp on reality. A clever and chilling look at gender roles and the notion of unconditional trust, False Positive delivers an unexpectedly twisted tale of modern family troubles. Boasting a solid ensemble cast, including a memorable turn from Gretchen Mol as Hindle's loyal nurse, director John Lee has truly found a kindred spirit in leading lady and co-writer Glazer. Longtime collaborators on the acclaimed Broad City, the two have shifted gears entirely here, abandoning the jokes but maintaining the edge for this genre-bending thriller about the perils of parenthood. —Loren HammondsRelease Date: Available on Hulu Friday, June 25, 2021Directed by: John LeeScreenplay by: John Lee and Ilana GlazerStarring: Ilana Glazer, Justin Theroux, Gretchen Mol, Sophia Bush, Zainab Jah, and Pierce BrosnanDistributed by: A24 and HuluGenre: Horror, ThrillerRunning Time: 1 hour 32 minutesRated RFeatured Documentaries:WolfgangWebsite: DisneyTribeca Film Festival Synopsis: From acclaimed filmmaker and Tribeca alum David Gelb (Jiro Dreams of Sushi, Chef's Table) comes another mouthwatering delight of a film about one of the first “celebrity chefs” to rule the scene and a pioneer in the world of California cuisine, Wolfgang Puck. Pushing beyond the sunny, superstar persona, Gelb follows Puck as he revisits his birthplace in Austria, revealing an abusive childhood that pushed him to flee home and fight for a life of his own as a teenager. With Puck steadily gaining life confidence and cooking know-how in his homeland, France and, eventually, America, he would officially launch a storied career in Los Angeles with the opening of the celebrity hot spot of the 80s and 90s, Spago. Though Puck's inventive cuisine has remained the core of his popularity, his charming, energetic persona is what pushed him to a stratosphere of fame that would eventually include countless TV appearances, cookbooks and restaurants that span the globe. Using a wealth of archival material and eye-dazzling cinematography of Puck's truly mouth-watering food, Gelb expertly brings us into the kitchen—and the mind—of this obsessively hard-working and inspirational virtuoso. Be prepared to leave hungry. —Liza DomnitzRelease Date: Available on Disney+ Friday, June 25, 2021Directed by: David GelbWritten by: Brian McGinnFeaturing: Wolfgang Puck, Barbara Lazaroff, Byron Puck, Christina Puck, Nancy Silverton, Evan Funke, Ruth Reichl, Laurie Ochoa, and Michael OvitzDistributed by: Disney+Genre: Biography, Documentary, FoodRunning Time: 1 hour 18 minutesThe Lost LeonardoWebsite: Sony Pictures ClassicsTribeca Film Festival Synopsis: In 2008, a few of the world's most distinguished Leonardo Da Vinci experts gathered around an easel at the National Gallery in London to examine a mysterious painting–an unassuming Salvator Mundi (Latin for Savior of the World)–found in a shady New Orleans auction house, that a select few believed to be a long-forgotten masterwork by Leonardo Da Vinci. That day, Salvator Mundi was authenticated as being the creation of Da Vinci himself, and thus, one of the most beguiling and perplexing stories of the 21st century was set into motion.Unfolding as a gripping, real-life art thriller, The Lost Leonardo pulls back the curtain to uncover the stranger than fiction story behind how a Salvator Mundi painting went from bargain-basement replication to setting the world record as the most expensive painting ever sold at auction, weighing in at an astonishing $450 million. Director Andreas Keofoed positions this story squarely at the intersection of capitalism and myth-making, posing the question: is this multi-million dollar painting actually by Leonardo, or do certain powerful players simply want it to be? The Lost Leonardo detangles how a painting became a pawn in a geopolitical game played by the world's wealthiest and most powerful people, ultimately revealing how vested interests became all-important, and the truth secondary. —Shayna WeingastRelease Date: Opens NY & LA Friday, August 13, 2021Directed by: Andreas KoefoedWritten by: Duska Zagorac, Andreas Dalsgaard, Mark Monroe, Christian Kirk Muff, and Andreas KoefoedFeaturing: Dianne Modestini, Yves Bouvier, Evan Beard, Robert Simon, Alexander Parish, Warren Adelson, Luke Syson, Martin Kemp, Frank Zöllner, Maria Teresa Fiorio, Jacques Franck, Kenny Schachter, Bruce Lamarche, Jerry Saltz, Robert K Wittman, Alexandra Bregman, Georgina Adam, Alison Cole, Bradley Hope, Doug Patteson, Stephane Lacroix, Antoine Harari, Didier Rykner, David D. Kirkpatrick, and Bernd LindemannDistributed by: Sony Pictures ClassicsGenre: Art, DocumentaryRunning Time: 1 hour 35 minutesBitchin': The Sound and Fury of Rick JamesWebsite: TribecaTribeca Film Festival Synopsis: This profile of legendary funk/R&B icon Rick James captures the peaks and valleys of his storied career to reveal a complicated and rebellious soul, driven to share his talent with the world. Known for his unapologetic and charismatic stage presence, James has been celebrated for his massive catalog of such hit songs as "Mary Jane" and "Superfreak." In this definitive portrait, acclaimed filmmaker Sacha Jenkins examines the brain beneath the braids, charting his soaring artistic success and eventual personal decline. Sexuality, race, and the tumultuous stew of American culture all contributed to the transformation of the songwriter born as James Ambrose Johnson into the larger-than-life performer forever known as Rick James. Against a soundtrack that compels you to get out of your seat from the opening moments, Jenkins approaches his subject not with reverence, but instead with indisputable care as he delves into the circumstances that birthed this one-of-a-kind personality. Surprising and enlightening, Jenkins' film still pulls no punches with its exploration of James' tragic obsessions. Comprised of rare archival performances, animation, interviews with family and collaborators and recorded conversations with James himself, this crowd-pleasing film proves the impact that this undeniable force had on American music and popular culture. —Loren Hammonds*Part of the Juneteenth programmingComing soon to ShowtimeDirected by: Sacha JenkinsWritten by: Sacha Jenkins, Steve Rivo, and Jason PollardDistributed by: Showtime NetworksGenre: Documentary, MusicRunning Time: 1 hour 51 minutes See acast.com/privacy for privacy and opt-out information.

This week: Mary Beard on Nero, one of the most infamous Roman emperors. Was he the sadistic murderer of legend, the emperor who fiddled as Rome burned, or has he been a victim of spin and myth? As well as getting Mary’s take on this infamous figure and Nero: the man behind the myth, the exhibition about him that’s just opened at the British Museum in London, Ben Luke also talks to the exhibition's curator Thorsten Opper. Also this week, as the first London Gallery Weekend begins—with 140 galleries from Mayfair to Mile End taking part—The Art Newspaper's editor-at-large Georgina Adam speaks to Jeremy Epstein, co-founder of Edel Assanti gallery and one of the founders of London Gallery Weekend initiative. And in this episode’s Work of the Week, we talk to the artist Nina Katchadourian about a very personal piece of embroidery, created by her adopted grandmother, which has inspired a new work by the artist in her show at Pace in New York. See acast.com/privacy for privacy and opt-out information.

The Art Newspaper has published a piece asking whether Brexit may be forcing London to hand over its crown as the King of Europe's art market. Georgina Adam, Editor at Large at The Art Newspaper 00:40 #ParisArtMarket #Art #Europe

On this special episode of Forum, we look at how Covid-19 affected the contemporary art world. Georgina Adam, Editor at Large at The Art Newspaper 00:36 Vasif Kortun, Curator and Writer 08:31 Tom Young, Artist 17:38 #ContemporaryArt #Artists #Pandemic

Nyligen såldes skulpturen "Crocodile, egg, man" av den svenska konstnärsduon Nathalie Djurberg och Hans Berg för rekordbeloppet 16 miljoner. Gynnas konstmarknaden av pandemin, till skillnad från övrig kultur? FÖRSTA INTERVJUN MED MEDIESAJTEN BULLETINS KULTURCHEF: FREDRIK EKELUND MARISOL M Paulina Neuding är chefredaktör för den nya nyhetssajten "Bulletin" som just nu plockar namnkunniga medarbetare ur det svenska medielandskapet. Hittills har till exempel Ivar Arpi, Nina Lekander och Per Gudmundson skrivit kontrakt och idag blir det offentligt vem som blir tidningens kulturchef. Den nya tidningen har kallats "högersajt" men Bulletin är enligt chefredaktören Paulina Neuding en dagstidning på nätet med fokus på opinion och utrikesbevakning. Ledarsidan kommer att vara liberal-konservativ men nyhets- och kulturdelen ska vara neutral, enligt Neuding. GEORGINA ADAM, PROFFS PÅ HUR KONSTMARKNADEN BETER SIG I KRISTIDER Gunnar Bolin har talat med Georgina Adam som är en av världens ledande experter på konstmarknaden och hur den förhåller sig till politik och samhälle. Vilket slags konst och antikviteter har sålt bäst under pandemin? Vi diskuterar konstens flytande värde med Pontus Silfverstolpe, antikexpert från Barnebys auktionssajt och Johanna Malm från Galleriförbundet. KÄRLEKEN TILL ALFRED NOBEL Intervju med den nya Akademiledamoten Ingrid Carlberg om arbetet med biografin om Alfred Nobel Nobel: "Den gåtfulle Alfred, hans värld och hans pris" som kom 2019 och nominerades till Augustpriset. Nina Asarnoj träffade henne i Riksarkivet vid Västerbrons fäste, där mycket av researcharbetet försiggått. Reportaget är en repris från 2019. OBS-ESSÄN HANDLAR OM HUNGER I veckan tilldelas FN:s livsmedelsprogram World food programme Nobels fredspris bland annat för sina ansträngningar att bekämpa hunger och för ansträngningarna att förhindra att hunger används som ett vapen för krig och konflikt. I denna essä reflekterar kulturskribenten Kristina Lindquist över den utbredda hungern som vi alla kan relatera till, men lätt glömmer när magen är full. Programledare: Gunnar Bolin Producent: Nina Asarnoj

This week: like the rest of the art world, the market has been upended by the pandemic. But has the turmoil forced it to be any more transparent? Do we know any more about the actual price of art? Ben Luke is joined by Georgina Adam, an editor-at-large at The Art Newspaper and art market specialist, to discuss transparency and the market. Also this week, we talk to David Blayney Brown, the curator of Turner’s Modern World, a new show at Tate Britain in London. And in this episode’s Work of the Week, the artist John Stezaker talks about a grisaille painting, Christ and the Woman Taken in Adultery, by Pieter Bruegel the Elder, in the Courtauld collection but currently on display at the National Gallery in London. See acast.com/privacy for privacy and opt-out information.

Following a historic relaxation of deaccessioning laws in the US, we probe the moral quandaries faced by museums forced to sell-off parts of their collections to stay afloat. We speak to Christopher Bedford, the director of the Baltimore Museum of Art in Maryland, which has announced it is to sell three works; to Georgina Adam about what this all means for the art market, and to James H. Duff, a former director of the Brandywine River Museum and chair of the Professional Issues Committee of the Association of Art Museum Directors, for an overview of the history of deaccessioning. Plus, in our latest work of the week, artist Jennifer Packer discusses a Buddhist mural in the Metropolitan Museum of Art in New York. See acast.com/privacy for privacy and opt-out information.

Art Basel had announced the cancellation of all three of its physical shows due to the coronavirus pandemic. But the events are still going ahead with a new format: online viewing rooms. Georgina Adam, Editor at Large of The Art Newspaper 00:47 #ArtBasel #Art #Pandemic

Despite cases of coronavirus reaching an all-time high around the world, galleries are re-opening. Georgina Adam, Editor at Large at The Art Newspaper 00:08 #Galleries #Pandemic #Coronavirus

Le monde vu par Alberto Manguel, auteur de Je remballe ma bibliothèque ; une élégie et quelques digressions. Conseil d'auteur avec Marie-Renée Lavoie; Comment survivre au manque de sommeil. Qu'est-ce qui ne se dit pas en espagnol avec Guillermo Aureano. Qui es-tu Georges Soros? avec Jean-Philippe Cipriani. L’Antiquité pour les nuls avec Pierre-Luc Brisson; Coriolan. Nicolas Mavrikakis et Jacques Lacoursière ont lu La face cachée du marché de l'art: Controverses, intrigues, scandales …, de Georgina Adam.

A bumper podcast featuring two roundtable discussions. First, art market specialist Georgina Adam ponders the current situation in the market and considers its future with Victoria Siddall, the director of the Frieze fairs, Francis Outred, the former head of postwar and contemporary art at Christie’s, and the art dealer Thaddaeus Ropac. Then, our correspondents Louisa Buck and Jane Morris join our host Ben Luke to look ahead at the museum openings, biennials, anniversaries and exhibitions coming up this year. See acast.com/privacy for privacy and opt-out information.

In the week Rowan Atkinson returns to the big screen as the hapless spy in Johnny English Strikes Again, which sees him batter innocent bystanders and himself in a series of pratfalls, we look at the art of physical comedy. Jonathan Sayer of Mischief Theatre, classicist and stand-up Natalie Haynes and Dr Oliver Double of the University of Kent attempt to answer an eternal question: why is the unfortunate mishap hilarious - so long as someone else is falling off the ladder?Damien Hirst has just announced that he is scaling back business activities, including laying off 50 staff, to focus on making art. This news coincided with a recent report into the value of Hirst's work, which found that the artworks he sold at auction in 2008, had plummeted in value when resold. Art market journalist Georgina Adam explains what this all might mean for the artist. Andre Aciman, whose first novel Call Me By Your Name, was turned into an Oscar winning film, discusses his latest novel Enigma Variations, which charts the life and loves of one man from adolescence through adulthood.In the first in an occasional series looking at the way the way in which the arts can positively impact on people's mental well being, Stig Abell talks to Laura Freeman about her book The Reading Cure in which she describes “the chaos, misery and misrule of an anorexic's thinking”, and how she overcame it. Aged 24 she read Charles Dickens's Christmas Carol and describes how continuing to read about food in fiction gave her the inspiration to start enjoying food again and became the pathway to a fuller and richer life. Presenter: Stig Abell Producer: Edwina Pitman

Can blockchain solve problems of origin, ownership and price in the art market? Josh Spero put this question to Georgina Adam, author of Dark Side of the Boom, Jess Holgrave from Codex Protocol, and Anne Bracegirdle from Christie's at the FT’s recent Weekend Festival in London. Dark Side of the Boom: The Excesses of the Art Market in the 21st Century is published by Lund Humphreys See acast.com/privacy for privacy and opt-out information.

We are at the London Art Fair speaking to Georgina Adam about her art market predictions and to Louisa Buck about the top shows and artists to keep on your radar this year See acast.com/privacy for privacy and opt-out information.

In this week's episode of the ArtTactic Podcast, Georgina Adam, contributor at the Financial Times and art market editor-at-large of The Art Newspaper, joins us to chat about some of the key topics in her brand new book, Dark Side of the Boom: The Excesses of the Art Market in the 21st Century. First, Georgina identifies how prevalent certain shady aspects of the art market are, such as fakes, tax avoidance, money laundering, etc. Then, she discusses the secretive nature of freeports and what it was like to walk through Le Freeport in Luxembourg. Also, Georgina dissects the greatest example of speculation during the last boom, the Zombie Formalist movement, and where the artists, galleries and collectors are today. Lastly, Georgina reveals the most interesting legal dispute in the art market today and she tells us to what extent greater regulation should be introduced in the marketplace.

Former editor of the The Art Newspaper Jane Morris speaks to Georgina Adam about her new book Dark Side of the Boom and the art world's less savoury side See acast.com/privacy for privacy and opt-out information.

It's been called the greatest art feud of modern times - a dispute that pits Russian billionaire and collector Dmitry Rybolovlev against the Swiss art dealer and businessman Yves Bouvier. In a fresh twist, Mr Rybolovlev has handed over two paintings by Pablo Picasso to the police. James Pickford talks to the FT's Cynthia O'Murchu and arts writer Georgina Adam about the feud. See acast.com/privacy for privacy and opt-out information.

What makes a good artist? Can creativity can be taught? What kind of education ups the ante for success in today’s global culture? These are some of the questions that were explored in this Intelligence Squared Asia debate in Singapore in January 2013. Singapore artist and curator Heman Chong and White Cube Asia Director Graham Steele proposed the motion. It was opposed by British artist Michael Craig-Martin and American art critic Blake Gopnik. The debate was chaired by Georgina Adam, editor-at-large of the Art Newspaper and FT art market columnist. See acast.com/privacy for privacy and opt-out information.

Art Auctions - How do auctioneers and buyers transact sales in seconds? Laurie Taylor hears from Professor Christian Heath who discusses his detailed study into the tools and techniques which lead to the strike of a hammer. They're joined by the arts writer and critic, Georgina Adam. Also, the Guatemalan cemetery with no more room. The growth of the city combined with high death and murder rates means the cemetery is overflowing. The anthropologist, Kevin O'Neill, talks about the harsh effects of an aggressive policy of disinterment when poor relatives can't pay the dues.Producer: Jayne Egerton.

London will host seven international art fairs during October, including Frieze London and Frieze Masters, and there will be three more in European cities. FT Arts editor Jan Dalley, dealer and gallerist Thomas Dane, FT Collecting columnist Georgina Adam and Stephanie Dieckvoss, director of Art 13, a new event launching in March 2013, discuss the global appetite for this kind of showcase and the dangers of “fairtigue” See acast.com/privacy for privacy and opt-out information.