Podcast appearances and mentions of Kate Brown

This week we're re-airing a favorite episode featuring Kate Brown interviewing Ben Davis about the “Raphael: Sublime Poetry” blockbuster at the Metropolitan Museum of Art. The show is the first comprehensive international loan exhibition ever dedicated to him in the United States. There are 237 works in total—33 paintings, 142 drawings—and his Sistine Chapel tapestries. There are loans from the Louvre, the Vatican Museums, the Prado, the Uffizi, and the British Museum. Many of these works, according to the Met, have never been shown together, and some have never previously left Europe. Curated by Carmen C. Bambach, it took 17 years to assemble. No one quite captured divine beauty like Raphael did. But what is the story within the story of this artist who left indelible mark on western art? This week, we find out.

This week we're re-airing a favorite episode featuring Kate Brown interviewing Ben Davis about the “Raphael: Sublime Poetry” blockbuster at the Metropolitan Museum of Art. The show is the first comprehensive international loan exhibition ever dedicated to him in the United States. There are 237 works in total—33 paintings, 142 drawings—and his Sistine Chapel tapestries. There are loans from the Louvre, the Vatican Museums, the Prado, the Uffizi, and the British Museum. Many of these works, according to the Met, have never been shown together, and some have never previously left Europe. Curated by Carmen C. Bambach, it took 17 years to assemble. No one quite captured divine beauty like Raphael did. But what is the story within the story of this artist who left indelible mark on western art? This week, we find out.

Kate Brown, Distinguished Professor in the History of Science at MIT joins Michael Stauch to discuss her new book Tiny Gardens Everywhere: The Past, Present and Future of the Self-Provisioning City (W. W. Norton, 2026) on the 300-year history of urban gardening, from feudal England to the Paris Commune, to Berlin's green shantytowns, to contemporary Amsterdam, Chicago, and beyond. Equal parts history, memoir, and manifesto, Brown's book weaves in her own gardening experience while exploring the political and practical, painting a picture of the necessity of self-provisioning in an increasingly chaotic world. Highlights include: How “tiny gardens” grew as a social practice among English peasants following the enclosure of the commons; The politics of “tiny gardens,” including the difference between a “gardening” state and a gardeners state; How Black “tiny gardeners” in DC's East of the River neighborhood transformed structural racism into vegetable-powered wealth; A short-but-scathing review of Yuvel Harari's Sapiens; How small changes to local ordinances in cities might allow us to reimagine a world of abundance amid contemporary fears of scarcity and instability. Guest: Kate Brown is Distinguished Professor in the History of Science at MIT and author of four previous prize-winning books, including A Manual for Survival: A Chernobyl Guide to the Future, a finalist for the National Book Critics Circle award. She currently plants her gardens in Cambridge, Massachusetts, and in Vermont. Host: Michael Stauch is an associate professor of history at the University of Toledo and the author of Wildcat of the Streets: Detroit in the Age of Community Policing, published by the University of Pennsylvania Press in 2025. 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

Kate Brown, Distinguished Professor in the History of Science at MIT joins Michael Stauch to discuss her new book Tiny Gardens Everywhere: The Past, Present and Future of the Self-Provisioning City (W. W. Norton, 2026) on the 300-year history of urban gardening, from feudal England to the Paris Commune, to Berlin's green shantytowns, to contemporary Amsterdam, Chicago, and beyond. Equal parts history, memoir, and manifesto, Brown's book weaves in her own gardening experience while exploring the political and practical, painting a picture of the necessity of self-provisioning in an increasingly chaotic world. Highlights include: How “tiny gardens” grew as a social practice among English peasants following the enclosure of the commons; The politics of “tiny gardens,” including the difference between a “gardening” state and a gardeners state; How Black “tiny gardeners” in DC's East of the River neighborhood transformed structural racism into vegetable-powered wealth; A short-but-scathing review of Yuvel Harari's Sapiens; How small changes to local ordinances in cities might allow us to reimagine a world of abundance amid contemporary fears of scarcity and instability. Guest: Kate Brown is Distinguished Professor in the History of Science at MIT and author of four previous prize-winning books, including A Manual for Survival: A Chernobyl Guide to the Future, a finalist for the National Book Critics Circle award. She currently plants her gardens in Cambridge, Massachusetts, and in Vermont. Host: Michael Stauch is an associate professor of history at the University of Toledo and the author of Wildcat of the Streets: Detroit in the Age of Community Policing, published by the University of Pennsylvania Press in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

Kate Brown, Distinguished Professor in the History of Science at MIT joins Michael Stauch to discuss her new book Tiny Gardens Everywhere: The Past, Present and Future of the Self-Provisioning City (W. W. Norton, 2026) on the 300-year history of urban gardening, from feudal England to the Paris Commune, to Berlin's green shantytowns, to contemporary Amsterdam, Chicago, and beyond. Equal parts history, memoir, and manifesto, Brown's book weaves in her own gardening experience while exploring the political and practical, painting a picture of the necessity of self-provisioning in an increasingly chaotic world. Highlights include: How “tiny gardens” grew as a social practice among English peasants following the enclosure of the commons; The politics of “tiny gardens,” including the difference between a “gardening” state and a gardeners state; How Black “tiny gardeners” in DC's East of the River neighborhood transformed structural racism into vegetable-powered wealth; A short-but-scathing review of Yuvel Harari's Sapiens; How small changes to local ordinances in cities might allow us to reimagine a world of abundance amid contemporary fears of scarcity and instability. Guest: Kate Brown is Distinguished Professor in the History of Science at MIT and author of four previous prize-winning books, including A Manual for Survival: A Chernobyl Guide to the Future, a finalist for the National Book Critics Circle award. She currently plants her gardens in Cambridge, Massachusetts, and in Vermont. Host: Michael Stauch is an associate professor of history at the University of Toledo and the author of Wildcat of the Streets: Detroit in the Age of Community Policing, published by the University of Pennsylvania Press in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/food

Kate Brown, Distinguished Professor in the History of Science at MIT joins Michael Stauch to discuss her new book Tiny Gardens Everywhere: The Past, Present and Future of the Self-Provisioning City (W. W. Norton, 2026) on the 300-year history of urban gardening, from feudal England to the Paris Commune, to Berlin's green shantytowns, to contemporary Amsterdam, Chicago, and beyond. Equal parts history, memoir, and manifesto, Brown's book weaves in her own gardening experience while exploring the political and practical, painting a picture of the necessity of self-provisioning in an increasingly chaotic world. Highlights include: How “tiny gardens” grew as a social practice among English peasants following the enclosure of the commons; The politics of “tiny gardens,” including the difference between a “gardening” state and a gardeners state; How Black “tiny gardeners” in DC's East of the River neighborhood transformed structural racism into vegetable-powered wealth; A short-but-scathing review of Yuvel Harari's Sapiens; How small changes to local ordinances in cities might allow us to reimagine a world of abundance amid contemporary fears of scarcity and instability. Guest: Kate Brown is Distinguished Professor in the History of Science at MIT and author of four previous prize-winning books, including A Manual for Survival: A Chernobyl Guide to the Future, a finalist for the National Book Critics Circle award. She currently plants her gardens in Cambridge, Massachusetts, and in Vermont. Host: Michael Stauch is an associate professor of history at the University of Toledo and the author of Wildcat of the Streets: Detroit in the Age of Community Policing, published by the University of Pennsylvania Press in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Kate Brown, Distinguished Professor in the History of Science at MIT joins Michael Stauch to discuss her new book Tiny Gardens Everywhere: The Past, Present and Future of the Self-Provisioning City (W. W. Norton, 2026) on the 300-year history of urban gardening, from feudal England to the Paris Commune, to Berlin's green shantytowns, to contemporary Amsterdam, Chicago, and beyond. Equal parts history, memoir, and manifesto, Brown's book weaves in her own gardening experience while exploring the political and practical, painting a picture of the necessity of self-provisioning in an increasingly chaotic world. Highlights include: How “tiny gardens” grew as a social practice among English peasants following the enclosure of the commons; The politics of “tiny gardens,” including the difference between a “gardening” state and a gardeners state; How Black “tiny gardeners” in DC's East of the River neighborhood transformed structural racism into vegetable-powered wealth; A short-but-scathing review of Yuvel Harari's Sapiens; How small changes to local ordinances in cities might allow us to reimagine a world of abundance amid contemporary fears of scarcity and instability. Guest: Kate Brown is Distinguished Professor in the History of Science at MIT and author of four previous prize-winning books, including A Manual for Survival: A Chernobyl Guide to the Future, a finalist for the National Book Critics Circle award. She currently plants her gardens in Cambridge, Massachusetts, and in Vermont. Host: Michael Stauch is an associate professor of history at the University of Toledo and the author of Wildcat of the Streets: Detroit in the Age of Community Policing, published by the University of Pennsylvania Press in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kate Brown, Distinguished Professor in the History of Science at MIT joins Michael Stauch to discuss her new book Tiny Gardens Everywhere: The Past, Present and Future of the Self-Provisioning City (W. W. Norton, 2026) on the 300-year history of urban gardening, from feudal England to the Paris Commune, to Berlin's green shantytowns, to contemporary Amsterdam, Chicago, and beyond. Equal parts history, memoir, and manifesto, Brown's book weaves in her own gardening experience while exploring the political and practical, painting a picture of the necessity of self-provisioning in an increasingly chaotic world. Highlights include: How “tiny gardens” grew as a social practice among English peasants following the enclosure of the commons; The politics of “tiny gardens,” including the difference between a “gardening” state and a gardeners state; How Black “tiny gardeners” in DC's East of the River neighborhood transformed structural racism into vegetable-powered wealth; A short-but-scathing review of Yuvel Harari's Sapiens; How small changes to local ordinances in cities might allow us to reimagine a world of abundance amid contemporary fears of scarcity and instability. Guest: Kate Brown is Distinguished Professor in the History of Science at MIT and author of four previous prize-winning books, including A Manual for Survival: A Chernobyl Guide to the Future, a finalist for the National Book Critics Circle award. She currently plants her gardens in Cambridge, Massachusetts, and in Vermont. Host: Michael Stauch is an associate professor of history at the University of Toledo and the author of Wildcat of the Streets: Detroit in the Age of Community Policing, published by the University of Pennsylvania Press in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Kate Brown is an MIT Distinguished Professor in the History of Science. Across her career, her research has sometimes inadvertently documented the impact of urban, often small and under-resourced gardens and gardeners in our world. Her new book, Tiny Gardens Everywhere: The Past, Present, and Future of the Self-Provisioning City, compiles this research and her own lived experience of its truth and potential benefits. Listen in! Cultivating Place now has a donate button! We thank you for listening over the years, and we hope you'll continue to support Cultivating Place. We can't thank you enough for making it possible for this young program to grow and engage in even more conversations like these. The show is available as a podcast on SoundCloud and iTunes. To read more and for many more photos, please visit www.cultivatingplace.com.

June 4, 2019. Fairview Park, Ohio. 40-year old Carnell Sledge and his 33-year old friend, Kate Brown, agree to meet up at the Rocky River Reservation in the Cleveland Metroparks and they each drive there in their respective vehicles. Within 15 minutes of their arrival, Carnell and Kate are both fatally shot in the head near a park bench and the perpetrator manages to flee the scene without anyone seeing or hearing anything. Investigators look into the backgrounds of both victims to see if anyone had a motive to harm them, but are unable to turn up any evidence to implicate anyone and the crime remains unsolved. On this week's episode of “The Trail Went Cold”, we explore a baffling double homicide known as the “Park Bench Murders”. Additional Reading: https://unsolvedmysteries.fandom.com/wiki/Kate_Brown_and_Nell_Sledge https://unsolved.com/gallery/park-bench-murders/ https://www.cleveland.com/news/2019/06/parents-of-homicide-victim-carnell-sledge-did-not-know-woman-killed-with-him.html https://www.cleveland.com/news/2019/06/parents-of-homicide-victim-carnell-sledge-did-not-know-woman-killed-with-him.html https://www.clevescene.com/news/four-years-later-officials-report-no-progress-in-metroparks-double-homicide-cold-case-but-fresh-hope-comes-with-national-coverage-42872823/ https://www.news5cleveland.com/news/local-news/they-didnt-deserve-to-die-this-way-sister-hopes-unsolved-mysteries-episode-can-help-find-sisters-killer https://www.cleveland19.com/2024/10/03/murder-metroparks-new-dark-side-podcast-goes-inside-unsolved-fairview-park-killings/ https://www.cleveland19.com/2025/06/04/trace-dna-found-metroparks-double-murder-scene-could-lead-suspect/ https://www.cleveland19.com/2025/05/30/possible-connection-between-5-year-old-double-murder-west-park-murder-suicide-metroparks/ https://www.wkyc.com/article/news/crime/cold-cases/families-kate-brown-carnell-sledge-statement-cleveland-metroparks-police-update-double-homicide-investigation/95-16545e66-98a0-4e17-9220-4c69d5b7b12e https://www.reddit.com/r/UnsolvedMysteries/comments/1fweqc9/ama_im_jeff_a_friend_of_carnell_sledge_here_to/ “The Trail Went Cold” is on Patreon. Visit www.patreon.com/thetrailwentcold to become a patron and gain access to our exclusive bonus content. The Trail Went Cold is produced and edited by Magill Foote. All music is composed by Vince Nitro.

At the Venice Biennale, every two years, we expect big things from the artists picked to represent their countries. But I'm not sure anyone can quite prepare themselves for the universe of Florentina Holzinger. After years becoming a titan of the theater world, Holzinger is now getting one of the most visible slots in the art world, a national pavilion in the Giardini. She's representing Austria this year for what is surely going to be one of the most talked about pavilions. Known for feminist performances that push the human body—and, by extension, the viewer—to their absolute limits, she does not shy away from nudity or sexuality. Flesh hooks, stunt artistry, live tattooing, bodily fluids, heavy machinery—all of it is in play, and none of it is trying to be polite. The physicality of her practice is not for the faint of heart, nor for her performers. Her work tends to divide a room, something Holzinger seems entirely unbothered by. Opening May 9th, her exhibition called “Seaworld Venice” fills the Austrian Pavilion with water, turning it into an underwater theme park and a fully functional sewage treatment plant. Audiences can be part of the work: they can urinate in the onsite portable toilets, and their fluids will get cleaned and cycled back into the tanks. The work is about the human body, but it's also about ecology and about Venice itself, a city that is sinking, built on water it cannot drink, overwhelmed by the waste of mass tourism. Kate Brown spoke with Holzinger about what went into building her trailblazing project for Venice, about the move from theater and dance into the art world, and about what it means to make genuinely uncompromising work.

At the Venice Biennale, every two years, we expect big things from the artists picked to represent their countries. But I'm not sure anyone can quite prepare themselves for the universe of Florentina Holzinger. After years becoming a titan of the theater world, Holzinger is now getting one of the most visible slots in the art world, a national pavilion in the Giardini. She's representing Austria this year for what is surely going to be one of the most talked about pavilions. Known for feminist performances that push the human body—and, by extension, the viewer—to their absolute limits, she does not shy away from nudity or sexuality. Flesh hooks, stunt artistry, live tattooing, bodily fluids, heavy machinery—all of it is in play, and none of it is trying to be polite. The physicality of her practice is not for the faint of heart, nor for her performers. Her work tends to divide a room, something Holzinger seems entirely unbothered by. Opening May 9th, her exhibition called “Seaworld Venice” fills the Austrian Pavilion with water, turning it into an underwater theme park and a fully functional sewage treatment plant. Audiences can be part of the work: they can urinate in the onsite portable toilets, and their fluids will get cleaned and cycled back into the tanks. The work is about the human body, but it's also about ecology and about Venice itself, a city that is sinking, built on water it cannot drink, overwhelmed by the waste of mass tourism. Kate Brown spoke with Holzinger about what went into building her trailblazing project for Venice, about the move from theater and dance into the art world, and about what it means to make genuinely uncompromising work.

This week's episode of The Beet mixes things up. Jacques sits down with author and historian Dr. Kate Brown to discuss her book, “Tiny Gardens Everywhere: The Past, Present, and Future of the Self-Provisioning City,” and the surprising origins of gardens back in feudal times. They explore how wage labor replaced self-sufficient life on the land, and how today's gardeners are flipping the script. Even in cities, people are reclaiming that grounded, grow-your-own way of living. Connect with Dr. Kate Brown: Dr. Kate Brown is a historian who started out tackling manmade disasters—and then pivoted to exploring people who see plants as allies. She's the author of five historical books, with a degree from the University of Wisconsin and a PhD from the University of Washington. Her work blends archival research, oral history, sensory observation, reflective autobiography, and inventive literary style, bringing a fresh, immersive edge to how history gets written. Find more from Dr. Kate Brown on her website: https://www.katebrownhistorian.org/ Support The Beet: → Shop: https://growepic.co/shop → Seeds: https://growepic.co/botanicalinterests Learn More: → All Our Channels: https://growepic.co/youtube → Blog: https://growepic.co/blog → Podcast: https://growepic.co/podcasts → Discord: https://growepic.co/discord → Instagram: https://growepic.co/insta → TikTok: https://growepic.co/tiktok → Pinterest: https://growepic.co/pinterest → Twitter: https://growepic.co/twitter → Facebook: https://growepic.co/facebook → Facebook Group: https://growepic.co/fbgroup → Love our products? Become an Epic affiliate! https://growepic.co/3FjQXqV Learn more about your ad choices. Visit megaphone.fm/adchoices

Subscribe on Patreon and hear this week's full patron-exclusive episode here: https://www.patreon.com/posts/155540630/ Beatrice speaks with Kate Brown about the history of mutual aid agriculture projects in the US and Europe after the enclosure of the commons, how autonomous community agriculture has historically been met with expulsion or co-optation by the state, and her book Tiny Gardens Everywhere: The Past, Present, and Future of the Self-Provisioning City. Find Kate Brown's book Tiny Gardens Everywhere here: https://bookshop.org/a/118130/9781324105831 Runtime 1:20:10 MERCH STORE IS BACK! Patrons get a code for 10% off all orders. Find it at www.deathpanel.net/merch We're testing out a new Bookshop.org page (still under construction), where you can find books by past guests and book recommendations from the hosts. Find it here: bookshop.org/shop/deathpanel Show links: Get Health Communism here: https://bookshop.org/a/118130/9781839765179 Find Tracy's book Abolish Rent here: https://bookshop.org/a/118130/9798888902523

Raphael is one of those names that everyone knows. He is the prince of painters, a master of the High Renaissance. And the Metropolitan Museum of Art has given him the full blockbuster treatment in a highly anticipated exhibition called "Raphael: Sublime Poetry." The show is the first comprehensive international loan exhibition ever dedicated to him in the United States. There are 237 works in total—33 paintings, 142 drawings—and his Sistine Chapel tapestries. There are loans from the Louvre, the Vatican Museums, the Prado, the Uffizi, and the British Museum. Many of these works, according to the Met, have never been shown together, and some have never previously left Europe. Curated by Carmen C. Bambach, it took 17 years to assemble. No one quite captured divine beauty like Raphael did. But what is the story within the story of this artist who left indelible mark on western art? Kate Brown is joined by art critic and podcast co-host Ben Davis, who has just published a review of the exhibition, to dive into that question. Register for the live discussion: ⁠The Intelligence Report, Year Ahead 2026 Edition

Raphael is one of those names that everyone knows. He is the prince of painters, a master of the High Renaissance. And the Metropolitan Museum of Art has given him the full blockbuster treatment in a highly anticipated exhibition called "Raphael: Sublime Poetry." The show is the first comprehensive international loan exhibition ever dedicated to him in the United States. There are 237 works in total—33 paintings, 142 drawings—and his Sistine Chapel tapestries. There are loans from the Louvre, the Vatican Museums, the Prado, the Uffizi, and the British Museum. Many of these works, according to the Met, have never been shown together, and some have never previously left Europe. Curated by Carmen C. Bambach, it took 17 years to assemble. No one quite captured divine beauty like Raphael did. But what is the story within the story of this artist who left indelible mark on western art? Kate Brown is joined by art critic and podcast co-host Ben Davis, who has just published a review of the exhibition, to dive into that question. Register for the Intelligence Report live discussion: ⁠The Intelligence Report, Year Ahead 2026 Edition

Spring is upon us. March has seen a burst of big art events—the true start of a busy year. This week, Kate Brown and Ben Davis are joined by senior writer Eileen Kinsella to discuss some of the biggest art stories of the month. In this episode, will be discussing: — The 2026 Whitney Biennial, which opened at the beginning of the month. It always gives a snapshot of who's in and who's out, and what's on curators minds. (I've written two pieces on it, here and here) — The rise of a new art historical art star: the Flemish baroque painter Michaelina Wautier (1604–1689). — And a new investigation that claims to definitively, absolutely, positively once and for settle the question of who Banksy really is. Do we think they did it? Does it matter?

Spring is upon us. March has seen a burst of big art events—the true start of a busy year. This week, Kate Brown and Ben Davis are joined by senior writer Eileen Kinsella to discuss some of the biggest art stories of the month. In this episode, will be discussing: — The 2026 Whitney Biennial, which opened at the beginning of the month. It always gives a snapshot of who's in and who's out, and what's on curators minds. (I've written two pieces on it, here and here) — The rise of a new art historical art star: the Flemish baroque painter Michaelina Wautier (1604–1689). — And a new investigation that claims to definitively, absolutely, positively once and for settle the question of who Banksy really is. Do we think they did it? Does it matter? Register for: The Intelligence Report, Year Ahead 2026 Edition

Tiny gardens in urban settings are far from a novelty — they have an important and influential place in history. There was a time when urban gardens were essential for food security, and they anchored communities. To discuss what we can learn from the history of urban gardens and how these lessons apply to gardeners today, environmental historian Kate Brown joins me this week. Podcast Links for Show Notes Download my free eBook 5 Steps to Your Best Garden Ever - the 5 most important steps anyone can do to have a thriving garden or landscape. It's what I still do today, without exception to get incredible results, even in the most challenging conditions. Subscribe to the joegardener® email list to receive weekly updates about new podcast episodes, seasonal gardening tips, and online gardening course announcements. Check out The joegardener® Online Gardening Academy for our growing library of organic gardening courses. Follow joegardener® on Instagram, Facebook, Pinterest, and Twitter, and subscribe to The joegardenerTV YouTube channel.

Kim Gordon—artist, musician, writer, and co-founder of the iconic rock band Sonic Youth—is one of the most restlessly creative figures in American culture. Over the past four decades moved between mediums with an ease that few can achieve. She published her memoir Girl in a Band in 2015 to wide acclaim. Her visual work has been shown at institutions including the Andy Warhol Museum, the Irish Museum of Modern Art, and the Busan Biennale. Her 2024 solo album The Collective, a record built on trap beats and with sharp cultural commentary, earned her two Grammy nominations, a career first. But Gordon was always an artist first. Now, she is the subject of two concurrent exhibitions now open at Amant, the Brooklyn-based arts organization. The first is her solo survey "Count Your Chickens," which brings together painting, ceramics, film, and readymades spanning nearly 20 years of work. The second is "Folded Group," a group show she co-curated with Bill Nace, her collaborator in the experimental guitar duo Body/Head, featuring 19 artists and artist-musicians many of whom, like Gordon, have never accepted the boundary between making art and making music. Her third solo album, Play Me, is out on March 13. In her conversation with senior editor Kate Brown, Gordon discusses her visual practice, her relationship to the art world and the music world, and what these two universes share and where they diverge. She reflects on album art as a curatorial act, on how the internet has transformed what it means to make and disseminate work, and on what it has meant to spend a career resisting every category people tried to put her in.

It's time for our monthly news roundup where we discuss some of the biggest stories emerging in the art world. On the heels of the first-ever Art Basel Qatar, we will be discussing the Middle Eastern art market and the regional art scenes. Is this simply another fair on the global circuit, or something more structural—an attempt to recalibrate where cultural power sits? We will doing a vibe check on the Ultra-Contemporary art scene's current obsession with Old Masters, art history, and dead artists. As market pressures mount and institutions increasingly turn toward estates and historical figures, we'll ask whether this is a genuine intellectual reckoning or a marketing strategy dressed up as scholarship. Maybe it is both? Finally, we will rove over to Rome, Italy, where where a church fresco featuring an angel that bore a striking resemblance to Italian Prime Minister Giorgia Meloni was abruptly removed, sparking debate within and well beyond the church about restoration, iconography, and the politics of sacred imagery. We reminisce about the great many botched art restorations of years past. To discuss these topics, Ben Davis and Kate Brown are joined this month by London-based Artnet News editor Margaret Carrigan. Carrigan is the host of our sister podcast, the Art Market Minute, and co-author of our weekly Artnet Pro market newsletter, The Back Room.

The benefits of maintaining a neighborhood garden go well beyond the dinner plate. Kate Brown is distinguished professor in the history of science at MIT, and she joins host Krys Boyd to discuss how community gardens often turned impoverished neighborhoods into thriving city centers, why they can yield sometimes more than professional farms and how they continue to build community even today. Her book is “Tiny Gardens Everywhere: The Past, Present, and Future of the Self-Provisioning City.” Learn about your ad choices: dovetail.prx.org/ad-choices

The new book Tiny Gardens Everywhere: The Past, Present and Future of the Self-Provisioning City dives into the history of urban gardening, from Berlin to Estonia and Ohio to Washington, D.C. Author and M.I.T science history professor Kate Brown discusses the book, and takes calls from listeners about their experiences with urban gardening.Photo by Naima Green and Jackie Snow, Ten Speed Press

In her new book, “Tiny Gardens Everywhere,” MIT environmental historian Kate Brown uses the global history of gardening to help us imagine cities that are resilient and self-sufficient. She unearths a rich history of the role small urban gardens have played in supplementing wages, keeping families fed and nurturing community and resilience in times of economic upheaval, war and environmental damage. We'll talk to Brown about the past, present and future of gardens as critical infrastructure of cities that can help sustain communities even when our systems fail. Guests: Kate Brown, author, "Tiny Gardens Everywhere" Learn more about your ad choices. Visit megaphone.fm/adchoices

Here we are, already at the end of the first month of the new year. That means it's time to do the first Art Angle Round-Up of 2026, where, as is custom, we'll review some of the art news stories that people are talking about, and what they might tell us something about the forces shaping the year to come. Today art critic Ben Davis, senior editor Kate Brown and editor in chief Naomi Rea talk about three stories: —The big controversy over the South Africa pavilion at the Venice Biennale, which Artnet News has had multiple pieces about. —The Prado Museum in Madrid, which has a good problem: it has too many visitors. It also has a plan to deal with overcrowding. —The mini-genre of "speed painting," specifically the painter Vanessa Horabuena. She sold a painting of Jesus for almost $3 million dollars that she made in 10 minutes at a Mar-a-Lago fundraiser—a sign of the world out of control, though perhaps a slightly more fun one to talk about than some of the other things in the news. Or maybe not.

Carnell Sledge and Kate Brown were murdered on a park bench in Cleveland, Ohio in broad daylight on June 4, 2019. Their murders remain unsolved today and there have been no solid suspects in this case. Who killed Carnell and Kate, and why?Instagram: @caffeinatedcrimespodTwitter: @caffcrimespodEmail: caffeinatedcrimespod@gmail.comFacebook: Caffeinated CrimesSupport the show

At the top of 2025, the outlook for the art industry was pretty bleak, and people's worst fears were, in some cases, more than realized. By now, if you're paying any attention to the movements in the art market you have been hearing the drumbeat of bad news: Galleries shuttering, a lot of the buying energy drying up, some fairs shriking operations, and the secondary market stuttering. But the picture is, as usual, quite nuanced depending on how you look at it. There were some upsides to the slowdown in the hype and the speculation gamification of art seems to be over, which some people say is not the worst thing. Things seemed to turn a corner in the closing months of 2025, which included a successful fall New York auction week and a stronger-than-expected edition of Art Basel Miami Beach. Following two years of a down market and declining sales, the world's two leading auction houses Christie's and Sotheby's reported at the close of the year, upticks in total projected revenue for 2025. So is the wind back in the sails? After years of downturn, has the art market changed in permanent ways? What major shifts can we expect in 2026? Senior editor Kate Brown is joined by Marc Spiegler to consider these questions. For those who don't already know, Spiegler led Art Basel from 2007 to 2022, and the brand saw a major expansion under his tenure. Currently, he works on a portfolio of cultural strategy projects with major foundations, private corporation and projects in the immersive digital and experiential. Spiegler has long been a Visiting Professor in cultural management at Università Bocconi in Milan and launched the Art Market Minds Academy, which just announced its Cultural Catalyst Project.

As we close out another bumpy year in the art market, we are revisiting a recent episode that looks at one of the factors in play: the erosion of logic when it comes to the price of works of art. Our editor-in-chief was on the podcast sharing what she learned about how the rules of art pricing were made and broken—and what may come next.   What's a painting worth? For art world professionals, that question of price has never been easy—but lately, it's gotten harder than ever. As we've discussed on this podcast before, the art market has cooled off. But this isn't just a downturn—it's a disruption. The system that once supported pricing logic is now in disarray, and dealers and advisors are feeling the strain. In a recent report for Artnet News Pro, our editor-in-chief Naomi Rea explored how the traditional rules of art pricing have stopped making sense. With confidence waning and speculation drying up, dealers are quietly recalibrating. What we're seeing may be more than a correction—as Naomi reports, it could be the unraveling of an entire logic. Naomi joins senior editor Kate Brown to unpack what's going on in the “danger zone” of the market and how different players—from mega-galleries, emerging dealers, to advisors and collectors—are adapting. They also discuss whether we might be heading toward a more sustainable and meaningful art market.

When truth is stranger than fiction: Oregon puts a convicted cold-blooded killer on a police oversight board. Kyle Hedquist executed a 19-year-old girl by marching her into the woods and shooting her in the back of the head—all to silence a potential witness. He got life without parole. Then former Governor Kate Brown commuted his sentence without even notifying the victim's family. Now he's reviewing police conduct in Salem because apparently 28 years of "lived experience" murdering someone qualifies you for public safety positions in woke Oregon. The police union is furious, some council members are backtracking, and residents are asking how we got here. At what point did society decide that executing a teenager no longer disqualifies you from positions of authority? Is "lived experience" really the qualification we want for police oversight boards? How many more justice reform disasters before Oregon wakes up? Drop your thoughts below—subscribe, hit the like button, and let's expose this insanity together.

It's that time of year again, the time when everything comes to a close. And as such, we are doing our special edition of the Roundup, taking a look back at the last year. Senior editor Kate Brown is joined by art critic and co-host Ben Davis and Artnet Pro editor Andrew Russeth. There are few zones of interest, and it's been an eventful year. In this episode, they look at what's been going on in the art market, in the realm of art trends and aesthetics, in politics, which there's been a lot of and at institutions.

You've been hearing a lot about the Louvre lately. Last month, thieves broke into the Paris Museum in broad daylight when the museum had just opened and made off with eight pieces of royal jewelry. The spectacular heist captured the world news cycle and the imagination of the internet. But why are people so obsessed with the Louvre in general? What is it about this museum in particular? We decided to re-air a recent episode where we look at the enigmatic institution and dive into the many secrets and stories that it holds. The Louvre is among the largest, most-visited, and best-known museums in the world, and for nearly too many reasons to count. It's home to some of the most celebrated works of art, from the Venus de Milo to the Mona Lisa. Its blended contemporary and historic architecture is astounding. And it also has a truly formidable past, stretching back through time, well before the building became a museum in 1793. An institution and collection that has been a quiet witness to so much history and change is bound to have stories to tell. Elaine Sciolino, contributing writer and former Paris bureau chief for the New York Times, has captured many of these stories in her newest book, Adventures in the Louvre: How to Fall in Love with the World's Greatest Museum, which came out in April with Norton & Company. Sciolino is acclaimed for her chronicles of French history, and she's the author of the New York Times bestseller The Only Street in Paris, The Seine, and La Seduction. And at the Louvre, she spoke to everyone, from the guards to the lead curators, and received unprecedented access to rooms I didn't even know existed. Senior editor Kate Brown caught up with Elaine, who is based in Paris, to discuss the enigmatic and ever-enchanting Louvre, and what she learned from her exploration of its many halls, backrooms, and basements.

Last year, Jack Hanley—one of New York's most beloved and idiosyncratic gallerists— announced he would close his gallery after 37 years in business. The news landed with both surprise and sadness: Hanley has always been a disruptor, a dealer with a sharp eye for fresh talent, who followed instinct over market logic. A gem of the New York art scene and beyond. Over the decades, Hanley gave early shows to artists like Günther Förg, Christopher Wool, Sophie Calle, and Christian Marclay—and all of that was long before they became art-world names they are now. He helped define the San Francisco scene of the 1990s, championed artists who blurred lines between high and low and made challenging work; and more recently, even gave the digital artist Beeple his first-ever gallery show. As a former Grateful Dead roadie, avid orchid grower, art fair founder, and having run galleries in several cities, he's seen a lot. And played music with more than a few art dealers. Hanley joins senior editor Kate Brown to discuss transformation and continuity in the art world and art industry. We talk about what's changed, what hasn't, and what keeps art interesting, even as the market has grown more absurd.

Two longtime friends. Meeting for a heart-to-heart talk on a bench in a busy park outside Cleveland, Ohio. Ten minutes after arriving, their bodies were found. Shot to death in cold blood. In broad daylight. Six years later, the double homicides remain one of Northeast Ohio's most perplexing cold cases. No motive. No eyewitnesses. No suspects. Just two families shattered, left with far more questions than answers. This is the story of Carnell Sledge and Kate Brown. Listen Ad Free And Get Access to Exclusive Journal Entries Episodes: Spotify: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/show/4HEzJSwElA7MkbYYie9Jin⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/themurderdiariespod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Apple: Hit subscribe/ 1 week free trail available Resources: https://themurderdiariespodcast.com/episodes Music Used: Walking with the Dead by Maia Wynne Link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://freemusicarchive.org/music/Maiah_Wynne/Live_at_KBOO_for_A_Popcalypse_11012017⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ License: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://creativecommons.org/licenses/by-nc-nd/4.0/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Our Links: Link Hub: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://msha.ke/themurderdiaries⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/themurderdiariespod/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Edited by: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.landispodcastediting.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Before the idea of feminism took shape, there was what writers once called “the woman question.” The phrase comes from the querelle des femmes—a centuries-long debate in Europe about women's rights, intellect, and place in society. One of the first to take it up was Christine de Pizan, the Italian-French court writer who, in 1405, published The Book of the City of Ladies. At a time when most women were excluded from education and public life, de Pizan challenged misogyny head-on, laying some of the earliest groundwork for what we now understand as feminist thought. That question—what is a woman's place in culture and history?—has echoed ever since. In 1971, the art historian Linda Nochlin famously reframed it by asking: “Why Have There Been No Great Women Artists?” We have a clear answer: there had been great women artists all along, but their stories were often overlooked, dismissed, or erased. A new exhibition at the recently opened Museum of Modern Art in Warsaw hones in on that conversation. "The Woman Question: 1550–2025," curated by Alison M. Gingeras, gathers nearly five hundred years of women's creative production—from Renaissance pioneers like Sofonisba Anguissola and Lavinia Fontana, to Baroque heroines such as Elisabetta Sirani and Artemisia Gentileschi, and contemporary artists including Betty Tompkins and Lisa Brice. With more than 200 artworks, the exhibition focuses on how women saw and depicted themselves and the world, and how the represented power, resistance, desire, and violence. Through portraits, allegories, and bold depictions of female experience, these artists reveal how women have long claimed creative agency despite the structures built to contain them. On this episode of The Art Angle, Gingeras joins senior editor Kate Brown from Warsaw, Poland, to talk about early women art stars, recent rediscoveries, and why, after all this time, we still need all-women exhibitions.

What if historians could own up to their mistakes? Or learn to see their mistakes not as weaknesses to be hidden but as a necessary part of the process of growth and discovery? That is what a recent special edition of the History Unclassified section of the journal explores. That edition, "Mistakes I Have Made," includes reflections from nine contributors as well as from section editors Kate Brown and Emily Callaci. We speak, in turn, with all of them in this episode.

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

Museums across the globe are facing unprecedented challenges. In the West, public funding is shrinking, politics is creeping into the galleries, and institutions are asking hard questions about how to stay relevant to their donors and their publics. In an era of increasing scrutiny and diminishing returns, even the most established museums are questioning what long-term sustainability means. Meanwhile in China, the private museum boom that once symbolized cultural ambition and real-estate wealth is cracking, and some of these lavish new museums are having to close or scale back. In short, museums are in crisis. Senior editor Kate Brown recently worked with Margaret Carrigan, our news editor and host of the Art Market Minute, to edit a four-part series examining this issue from different angles. Margaret joins her on the podcast to talk about the takeaways and the financial, political, and ethical pressures reshaping museums. We also discuss whether this breaking point could be the start of a new era of reinvention.

Earlier this month, Brett Hollins embarked on a road trip to Oregon from his parents’ home in San Antonio. He didn’t come to experience the high desert splendor of Central Oregon or to snap selfies at Multnomah Falls. He came to present workshops and play basketball with inmates at six prisons across the state, including Snake River Correctional Institution in Ontario and Warner Creek Correctional Facility in Lakeview, both of which he once served time in.    In 2017, Hollins was sentenced to nearly six years in prison after pleading guilty to stabbing two men during a brawl that broke out during a party he and his friends attended near the campus of Southern Oregon University in Ashland. In 2021, then-Gov. Kate Brown commuted his sentence after he had served nearly four years of his six-year sentence.   The Oregonian/OregonLive sports writer Bill Oram has extensively profiled Hollins’ amazing journey of rehabilitation, including his decision to return to Ashland to play college basketball at Southern Oregon University, where he graduated last June and served as a team captain. More recently, Oram wrote about Hollins’ return to Snake River to play basketball and inspire adults in custody with workshops he developed through his new nonprofit, The Side Door Foundation. Hollins joins us, along with Michael Reese, director of the Oregon Department of Corrections, to share their perspectives on rehabilitation and the obstacles to it inside and outside of prison.

On September 15, the Oregon Department of Energy (ODOE) released its 2025 Biennial Zero-Emissions Vehicle Report, revealing that Oregon is far behind on its goal of purchasing 250,000 “zero emissions vehicles” (ZEV) by 2025. The report was established in 2019 by SB 1044 to push ZEV adoption.As of May 2025, 119,850 such vehicles were registered in Oregon, equaling 3.2 percent of the total vehicle fleet. Of those, only 84,636 were true zero-emission vehicles powered entirely by a battery. The remaining 35,214 vehicles were plug-in hybrids, which still rely on gasoline.These numbers show that we've reached 34 percent of Kate Brown's arbitrary EV Adoption Targets established during her era. Even more ambitious goals were set by ODOE for 2035, stating “at least 90 percent of new cars sold will be zero-emission vehicles.”Two obvious reasons come to mind for this failed goal. For starters, EVs cost more than traditional vehicles—a good deal more. For medium– and heavy-duty vehicles the purchase price can be double or triple the price of a diesel or gasoline powered vehicle. In practical terms, finding or installing a charging station can be difficult or expensive, making long-distance trips a challenge to plan.Few people will notice this policy failure because few really care about electric vehicles. The ZEV report is just one example of political elites telling us what to do and then being ignored.Will the Oregon Department of Energy learn from their failure and leave us alone? No. That's why they work for the government. But if you like your car, gas powered or hybrid, just keep it. Bureaucrats can't make you buy something you don't want and can't afford.

Fans of the Art Angle know our monthly Art Angle Round-Up, where Kate Brown and Ben Davis are usually joined by a writer to talk about three topics in art. For the early September week of art fairs in New York, we decided to mix it up with an experiment: a live edition of the Art Angle Round-Up, at Independent 20th Century. Our guest was the curator Matthew Higgs. He's the director of storied New York alternative art space White Columns; founding curatorial advisor to Independent; and—I'm really not just saying this—someone who's been on my shortlist of people to have on the show for a long time. Higgs is one of the most thoughtful observers of the art scene that you could to have a chat with. The house was packed for the live Saturday recording. Of course, we know that people listen to the show—but to see people actually turn out and to hear from listeners who have thoughts about it and want to talk about art and toss around ideas was very exciting. So, a big thank you to everyone who joined us in the audience. And of course thanks Independent 20th Century, and to Matthew for a lively and serious conversation.

In this episode of the AI-volution Podcast, host Adriana O'Kain and guest Kate Brown discuss the growing integration of AI in employee benefits. They explore current trends, the importance of understanding the 'why' behind AI adoption, and the potential for AI to enhance employee experiences and transform benefits enrollment processes. The conversation highlights the need for organizations to take proactive steps in leveraging AI technology responsibly and effectively.

If you want to know which artist is having the biggest year in museums, there is one name that springs to mind for me: Cara Romero. Since her first big breakout a decade ago at Santa Fe Indian Market, Romero has been steadily growing in influence. If you don't know it yet, her photo-based art is full of color, drama, and detail. It's sometimes funny, sometimes fantastical. And it moves between a variety of themes that are extremely important in museums right now: Indigenous identities, environmental concern, science fiction, and staged or set-up photography, to name a few. For that reason, Romero finds her work part of many surveys and touring exhibitions at the moment. She had this year a mid-career retrospective at the Hood Museum at Dartmouth, “Cara Romero: Panûpünüwügai,” meaning “Living Light.” She also has a two-person spotlight with her husband, the artist Diego Romero, called “Tales of Future Past,” currently at the Crocker art Museum in Sacramento. For someone who has risen to the very top of the museum circuit, Romero has had a unique career path and story. Join The Art Angle hosts Ben Davis and Kate Brown for a special live edition of The Round-Up with special guest Matthew Higgs at Independent 20th Century Art Fair on Saturday, September 6, at 5 p.m. in New York. Purchase your tickets at Independenthq.com, and learn more about Independent 20th Century's full programming here.

On June 30, 2021, former Oregon Gov. Kate Brown held a Reopening Oregon Celebration at Providence Park in Portland. Years later, Oregon schools and businesses are fully open, many workplaces have returned to in-office work and people regularly gather together inside. Patrick Allen is the former director of the Oregon Health Authority. He ran the agency during the height of the pandemic and joins us with details of what he learned working through a once-in-a-century crisis. 

In art history, the pastoral has long offered a vision of nature as sanctuary—Arcadian meadows, idyllic countrysides, and timeless landscapes painted as if untouched by human conflict or change. It is a mode steeped in longing, often idealizing rural life as a place of harmony, simplicity, and beauty. From the verdant backdrops of Renaissance allegories to the sunlit fields of 19th-century landscape painting, the pastoral tradition has provided generations of artists and their audiences a gentle escape from the turbulence of urban and political life. You can still see these scenes in their full, romantic bloom at institutions like the Met in New York or the Louvre in Paris, where they stand as visions of a perfect, almost mythical world. Today, however, a different strain of pastoral is taking root—one that resists the urge to smooth over complexity. My sharp-eyed colleague Katie White has spotted a cohort of contemporary artists who are engaging with pastoral imagery in ways that raise the stakes, bringing the countryside into conversation with the crises and contradictions of the present. She's dubbed this approach the para-pastoral, a genre that does not retreat into a calm and untroubled countryside but instead ventures into ambiguous, layered, and sometimes unsettling terrains. According to Katie, this new approach reframes the landscape not as a static refuge but as a charged space, marked by ecological urgency, political tension, and social change. Rather than romanticizing, the para-pastoral interrogates: Who has access to land? What histories does it conceal? How do rural spaces fit into the global story of climate and capitalism? Katie joins senior editor Kate Brown on the podcast to trace the history of pastoral art and explore the tense, resonant present of the para-pastoral. Together, we'll look at what's fueling the genre's resurgence, the social and environmental urgencies shaping it, and how artists are reimagining the natural landscape—not as a refuge from reality, but as a mirror of it.

It may be the dog days of summer, but the art world doesn't take a break, and there's plenty to talk about for our monthly roundup episode, where we parse and analyze the biggest headlines shaping the art world and industry. In this episode, we take a look at what is going on in the art scenes across London, New York, and Berlin, including some of the biennials going on this summer. Then, we get into the headlines: including a dive into a long-gestating biopic by actor Johnny Depp, called Modì: Three Days on the Wing of Madness. The new film is Depp's first directorial effort in nearly three decades, and it dramatizes 72 chaotic hours in the artist Amedeo Modigliani's life as he chases around early 20th-century Paris with artists Chaim Soutine and Maurice Utrillo. We also talk about Depp's new art drop. Is it all a rebranding exercise? After that, we break down the intrigue swirling around the U.S. pavilion for next year's Venice Biennale and what it might reveal about American cultural diplomacy in 2025. Within that fold, we take stock of a proposal from controversy-loving artist Andres Serrano and another idea from far-right American blogger Curtis Yarvin. Last but not least, we analyze the Labubu mania, a craze for these mischievous little dolls that has finally made its way into the art world and into the market. National art critic Ben Davis and our editor-in-chief, Naomi Rea joined senior editor Kate Brown on the podcast to talk about it all.

What's a painting worth? For art world professionals, that question of price has never been easy—but lately, it's gotten harder than ever. As we've discussed on this podcast before, the art market has cooled off. But this isn't just a downturn—it's a disruption. The system that once supported pricing logic is now in disarray, and dealers and advisors are feeling the strain. In a recent report for Artnet News Pro, our editor-in-chief Naomi Rea explored how the traditional rules of art pricing have stopped making sense. With confidence waning and speculation drying up, dealers are quietly recalibrating. What we're seeing may be more than a correction—as Naomi reports, it could be the unraveling of an entire logic. Naomi joins senior editor Kate Brown to unpack what's going on in the “danger zone” of the market and how different players—from mega-galleries, emerging dealers, to advisors and collectors—are adapting. They also discuss whether we might be heading toward a more sustainable and meaningful art market.

 Matt Donegan is a wildfire and land management consultant.  He led a wildfire council convened by Gov. Kate Brown in 2019. Now, he says Oregon is behind on wildfire management and federal, state and private organizations need to come together to figure out the future of Oregon’s forests. Donegan joins us with more about why Oregon needs to overhaul the way it approaches wildfire and land management.   

In the summer of 2019, two friends met up at a very popular park and within 14 minutes, they were both shot and killed in broad daylight. While it's been 6 years since their murders, at the end of May 2025, their names were back in the news as investigators began looking into a murder-suicide they believe may be related. Kate Brown and Carnell Sledge were shot and killed at the Rocky River Reservation in Fairview Park, Ohio, on June 4th, 2019. Kate was 33 years old, and Carnell was 40 years old. As of recording this episode, their case remains unsolved. Anyone with information is asked to call the FBI's Cleveland Field Office at (216) 622-6842, the Cleveland Metroparks Police Department at (440) 331-5219, or Crime Stoppers at (216) 252-7463. Tips can also be submitted at tips.fbi.gov. To learn more or to donate to the foundations discussed in this episode, you can visit https://barbergibbsdreams.net/ and https://sledgeshelpinghands.betterworld.org/ For more information about the podcast and the cases discussed, visit ⁠⁠⁠⁠VoicesforJusticePodcast.com⁠⁠⁠⁠   Follow us on social media: Instagram: ⁠⁠⁠⁠@VoicesforJusticePodcast⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠@VoicesforJusticePodcast⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠@VoicesforJusticePodcast⁠⁠⁠⁠   Voices for Justice is hosted by Sarah Turney Instagram: ⁠⁠⁠⁠@SarahETurney⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠@SarahETurney⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠@SarahETurney⁠⁠⁠⁠ YouTube: ⁠⁠⁠⁠@SarahTurney⁠⁠⁠⁠   The introduction music used in Voices for Justice is Thread of Clouds by Blue Dot Sessions. Outro music is Melancholic Ending by Soft and Furious. The track used for ad transitions is Pinky by Blue Dot Sessions. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kate Brown and Carnell Sledge were close friends who were murdered in broad daylight while sitting together on a park bench. Six years later, the killer has not been caught. Join Mike and Gibby as they discuss the murders of Kate Brown and Carnell Sledge. Investigators examined those closest to Kate and Carnell, including friends and past romantic relationships. But, they have not ruled out that this was a stranger who perpetrated the murders. You can help support the show at patreon.com/truecrimeallthetimeVisit the show's website at truecrimeallthetime.com for contact, merchandise, and donation informationAn Emash Digital productionSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's the end of June. It's hot. And it's time to take a look back at the hot art stories of the last month. Today the Art Angle team has picked out three items. On the agenda: —The announcement of a brand new, ambitious museum-like art venue, Canyon, dedicated to immersive video art, on the Lower East Side. We'll also talk about the general state of immersive art attractions. —What went down at Art Basel, the big Swiss art fair that is the art industry's most important event, and the ongoing chaos in art prices. —And finally, the Oscar-winning actor Adrien Brody's painting show in New York City, which has everyone talking—or at least, tittering. Culture editor Min Chen joins art critic Ben Davis and Artnet senior editor—and Art Angle co-host—Kate Brown to talk about it all.