Podcast appearances and mentions of tim schneider

In this week's episode of the ArtTactic Podcast, host Adam Green is joined by Zachary Small, culture reporter covering art for The New York Times, and Tim Schneider, founder of The Gray Market and a freelance journalist, to break down New York's May auctions and what they reveal about the current state of the art market. While the material this season may have been mixed, the auctions offered rare transparency into buyer behavior, pricing, and market sentiment at a time of uncertainty. Adam, Zachary, and Tim explore how collectors are becoming more selective, why certain artists outperformed expectations, and how guarantees shaped many of the results. They also discuss why this moment may offer smart buying opportunities for those with conviction, and what the sales signal as we head into Art Basel and the second half of the year.

We are back. Benjamin is joined by Zachary Small and Tim Schneider who led this season's auction reporting for the NY Times.Zachary and Tim report out what the hell just happened and what it all (might mean).All that, and MORE on THE ONLY ART PODCAST.

It's official. The American Dream is dead. And it's been resurrected in Europe where, according to the FT columnist Simon Kuper, disillusioned Americans should relocate. Compared with the United States, Kuper argues, Europe offers the three key metrics of a 21st century good life: “four years more longevity, higher self-reported happiness and less than half the carbon emissions per person”. So where exactly to move? The Paris based Kuper believes that his city is the most beautiful in Europe. He's also partial to Madrid, which offers Europe's sunniest lifestyle. And even London, in spite of all its post Brexit gloom, Kuper promises, offers American exiles the promise of a better life than the miserable existence which they now have to eek out in the United States. Five Takeaways* Quality of Life.:Kuper believes European quality of life surpasses America's for the average person, with Europeans living longer, having better physical health, and experiencing less extreme political polarization.* Democratic Europe vs Aristocratic America: While the wealthy can achieve greater fortunes in America, Kuper argues that Europeans in the "bottom 99%" live longer and healthier lives than their American counterparts.* Guns, Anxiety and the Threat of Violence: Political polarization in America creates more anxiety than in Europe, partly because Americans might be armed and because religion makes people hold their views more fervently.* MAGA Madness: Kuper sees Trump as more extreme than European right-wing leaders like Italy's Meloni, who governs as "relatively pro-European" and "pro-Ukrainian."* It's not just a Trump thing. Kuper believes America's declining international credibility will persist even after Trump leaves office, as Europeans will fear another "America First" president could follow any moderate administration.Full TranscriptAndrew Keen: Hello everybody. It's Monday, April the 21st, 2025. This conversation actually might go out tomorrow on the 22nd. Nonetheless, the headlines of the Financial Times, the world's most global economic newspaper, are miserable from an American point of view. US stocks and the dollar are sinking again as Donald Trump renews his attack on the Fed chair Jay Powell. Meanwhile Trump is also attacking the universities and many other bastions of civilization at least according to the FT's political columnist Gideon Rachman. For another FT journalist, my guest today Simon Kuper has been on the show many times before. All this bad news about America suggests that for Americans it's time to move to Europe. Simon is joining us from Paris, which Paris is that in Europe Simon?Simon Kuper: I was walking around today and thinking it has probably never in its history looked as good as it does now. It really is a fabulous city, especially when the sun shines.Andrew Keen: Nice of them where I am in San Francisco.Simon Kuper: I always used to like San Francisco, but I knew it before every house costs $15 million.Andrew Keen: Well, I'm not sure that's entirely true, but maybe there's some truth. Paris isn't exactly cheap either, is it? Certainly where you live.Simon Kuper: Cheaper than San Francisco, so I did for this article that you mentioned, I did some research on house prices and certainly central Paris is one of the most expensive areas in the European Union, but still considerably cheaper than cities like New York and San Francisco. A friend of mine who lives here told me that if she moved to New York, she would move from central Paris to for the same price living in some very, very distant suburb of New York City.Andrew Keen: Your column this week, Americans, it's time to move to Europe. You obviously wrote with a degree of relish. Is this Europe's revenge on America that it's now time to reverse the brain drain from Europe to America? Now it's from America to Europe.Simon Kuper: I mean, I don't see it as revenge. I'm a generally pro-American person by inclination and I even married an American and have children who are American as well as being French and British. So when I went to the US as firstly as a child, age 10, 11, I was in sixth grade in California. I thought it was the most advanced, wonderful place in the world and the sunshine and there was nowhere nice than California. And then I went as a student in my early 20s. And again, I thought this was the early 90s. This is the country of the future. It's so much more advanced than Europe. And they have this new kind of wise technocratic government that is going to make things even better. And it was the beginning of a big American boom of the 90s when I think American quality of life reached its peak, that life expectancy was reached, that was then declined a long time after the late 90s. So my impressions in the past were always extremely good, but no longer. The last 20 years visiting the US I've never really felt this is a society where ordinary people can have as good a life as in Europe.Andrew Keen: When you say ordinary people, I mean, you're not an ordinary person. And I'm guessing most of the people you and your wife certainly isn't ordinary. She's a well known writer. In fact, she's written on France and the United States and parenthood, very well known, you are well known. What do you mean by ordinary people?Simon Kuper: Yeah, I mean, it's not entirely about me. Amazingly, I am not so egomaniac as to draw conclusions on some matters just looking at my own situation. What I wrote about the US is that if you're in the 1% in the US and you are pursuing great wealth in finance or tech and you have a genuine shot at it, you will achieve wealth that you can't really achieve in Europe. You know, the top end of the US is much higher than in Europe. Still not necessarily true that your life will be better. So even rich Americans live shorter than rich Europeans. But OK, so the 1% America really offers greater expansion opportunities than Europe does. Anywhere below that, the Europeans in the bottom 99%, let's say, they live longer than their American equivalents. They are less fat, their bodies function better because they walk more, because they're not being bombarded by processed food in the same way. Although we have political polarization here, it's not as extreme as in the US. Where I quote a European friend of mine who lives in the American South. He says he sometimes doesn't go out of his house for days at a time because he says meeting Trump supporters makes him quite anxious.Andrew Keen: Where does he live? I saw that paragraph in the piece, you said he doesn't, and I'm quoting him, a European friend of mine who lives in the American South sometimes doesn't leave his house for days on end so as to avoid running into Trump supporters. Where does he live?Simon Kuper: He lives, let me say he lives in Georgia, he lives in the state of Georgia.Andrew Keen: Well, is that Atlanta? I mean, Atlanta is a large town, lots of anti-Trump sentiment there. Whereabouts in Georgia?Simon Kuper: He doesn't live in Atlanta, but I also don't want to specify exactly where he lives because he's entitled.Andrew Keen: In case you get started, but in all seriousness, Simon, isn't this a bit exaggerated? I mean, I'm sure there are some of your friends in Paris don't go outside the fancy center because they might run into fans of Marine Le Pen. What's the difference?Simon Kuper: I think that polarization creates more anxiety in the US and is more strongly felt for a couple of reasons. One is that because people might be armed in America, that gives an edge to any kind of disagreement that isn't here in Europe. And secondly, because religion is more of a factor in American life, people hold their views more strongly, more fervently, then. So I think there's a seriousness and edge to the American polarization that isn't quite the same as here. And the third reason I think polarization is worse is movement is more extreme even than European far-right movements. So my colleague John Byrne Murdoch at the Financial Times has mapped this, that Republican views from issues from climate to the role of the state are really off the charts. There's no European party coeval to them. So for example, the far-right party in France, the Rassemblement National, doesn't deny climate change in the way that Trump does.Andrew Keen: So, how does that contextualize Le Pen or Maloney or even the Hungarian neo-authoritarians for whom a lot of Trump supporters went to Budapest to learn what he did in order to implement Trump 2.0?Simon Kuper: Yeah, I think Orban, in terms of his creating an authoritarian society where the universities have been reined in, where the courts have been rained in, in that sense is a model for Trump. His friendliness with Putin is more of a model for Trump. Meloni and Le Pen, although I do not support them in any way, are not quite there. And so Meloni in Italy is in a coalition and is governing as somebody relatively pro-European. She's pro-Ukrainian, she's pro-NATO. So although, you know, she and Trump seem to have a good relationship, she is nowhere near as extreme as Trump. And you don't see anyone in Europe who's proposing these kinds of tariffs that Trump has. So I think that the, I would call it the craziness or the extremism of MAGA, doesn't really have comparisons. I mean, Orban, because he leads a small country, he has to be a bit more savvy and aware of what, for example, Brussels will wear. So he pushes Brussels, but he also needs money from Brussels. So, he reigns himself in, whereas with Trump, it's hard to see much restraint operating.Andrew Keen: I wonder if you're leading American liberals on a little bit, Simon. You suggested it's time to come to Europe, but Americans in particular aren't welcome, so to speak, with open arms, certainly from where you're talking from in Paris. And I know a lot of Americans who have come to Europe, London, Paris, elsewhere, and really struggled to make friends. Would, for Americans who are seriously thinking of leaving Trump's America, what kind of welcome are they gonna get in Europe?Simon Kuper: I mean, it's true that I haven't seen anti-Americanism as strong as this in my, probably in my lifetime. It might have been like this during the Vietnam War, but I was a child, I don't remember. So there is enormous antipathy to, let's say, to Trumpism. So two, I had two visiting Irish people, I had lunch with them on Friday, who both work in the US, and they said, somebody shouted at them on the street, Americans go home. Which I'd never heard, honestly, in Paris. And they shouted back, we're not American, which is a defense that doesn't work if you are American. So that is not nice. But my sense of Americans who live here is that the presumption of French people is always that if you're an American who lives here, you're not a Trumpist. Just like 20 years ago, if you are an American lives here you're not a supporter of George W. Bush. So there is a great amount of awareness that there are Americans and Americans that actually the most critical response I heard to my article was from Europeans. So I got a lot of Americans saying, yeah, yeah. I agree. I want to get out of here. I heard quite a lot of Europeans say, for God's sake, don't encourage them all to come here because they'll drive up prices and so on, which you can already see elements of, and particularly in Barcelona or in Venice, basically almost nobody lives in Venice except which Americans now, but in Barcelona where.Andrew Keen: Only rich Americans in Venice, no other rich people.Simon Kuper: It has a particular appeal to no Russians. No, no one from the gulf. There must be some there must be something. They're not many Venetians.Andrew Keen: What about the historical context, Simon? In all seriousness, you know, Americans have, of course, fled the United States in the past. One thinks of James Baldwin fleeing the Jim Crow South. Could the Americans now who were leaving the universities, Tim Schneider, for example, has already fled to Canada, as Jason Stanley has as well, another scholar of fascism. Is there stuff that American intellectuals, liberals, academics can bring to Europe that you guys currently don't have? Or are intellectuals coming to Europe from the US? Is it really like shipping coal, so to speak, to Newcastle?Simon Kuper: We need them desperately. I mean, as you know, since 1933, there has been a brain drain of the best European intellectuals in enormous numbers to the United States. So in 1933, the best university system in the world was Germany. If you measure by number of Nobel prizes, one that's demolished in a month, a lot of those people end up years later, especially in the US. And so you get the new school in New York is a center. And people like Adorno end up, I think, in Los Angeles, which must be very confusing. And American universities, you get the American combination. The USP, what's it called, the unique selling point, is you have size, you have wealth, you have freedom of inquiry, which China doesn't have, and you have immigration. So you bring in the best brains. And so Europe lost its intellectuals. You have very wealthy universities, partly because of the role of donors in America. So, you know, if you're a professor at Stanford or Columbia, I think the average salary is somewhere over $300,000 for professors at the top universities. In Europe, there's nothing like that. Those people would at least have to halve their salary. And so, yeah, for Europeans, this is a unique opportunity to get some of the world's leading brains back. At cut price because they would have to take a big salary cut, but many of them are desperate to do it. I mean, if your lab has been defunded by the government, or if the government doesn't believe in your research into climate or vaccines, or just if you're in the humanities and the government is very hostile to it, or, if you write on the history of race. And that is illegal now in some southern states where I think teaching they call it structural racism or there's this American phrase about racism that is now banned in some states that the government won't fund it, then you think, well, I'll take that pay cost and go back to Europe. Because I'm talking going back, I think the first people to take the offer are going to be the many, many top Europeans who work at American universities.Andrew Keen: You mentioned at the end of Europe essay, the end of the American dream. You're quoting Trump, of course, ironically. But the essay is also about the end of the America dream, perhaps the rebirth or initial birth of the European dream. To what extent is the American dream, in your view, and you touched on this earlier, Simon, dependent on the great minds of Europe coming to America, particularly during and after the, as a response to the rise of Nazism, Hannah Arendt, for example, even people like Aldous Huxley, who came to Hollywood in the 1930s. Do you think that the American dream itself is in part dependent on European intellectuals like Arendt and Huxley, even Ayn Rand, who not necessarily the most popular figure on the left, but certainly very influential in her ideas about capitalism and freedom, who came of course from Russia.Simon Kuper: I mean, I think the average American wouldn't care if Ayn Rand or Hannah Arendt had gone to Australia instead. That's not their dream. I think their American dream has always been about the idea of social mobility and building a wealthy life for yourself and your family from nothing. Now almost all studies of social ability say that it's now very low in the US. It's lower than in most of Europe. Especially Northern Europe and Scandinavia have great social mobility. So if you're born in the lower, say, 10% or 20% in Denmark, you have a much better chance of rising to the top of society than if you were born at the bottom 10%, 20% in the US. So America is not very good for social mobility anymore. I think that the brains that helped the American economy most were people working in different forms of tech research. And especially for the federal government. So the biggest funder of science in the last 80 years or so, I mean, the Manhattan Project and on has been the US federal government, biggest in the world. And the thing is you can't eat atom bombs, but what they also produce is research that becomes hugely transformative in civilian life and in civilian industries. So GPS or famously the internet come out of research that's done within the federal government with a kind of vague defense angle. And so I think those are the brains that have made America richer. And then of course, the number of immigrants who found companies, and you see this in tech, is much higher than the number percentage of native born Americans who do. And a famous example of that is Elon Musk.Andrew Keen: Yeah, and you were on the show just before Christmas in response to your piece about Musk, Thiel and the shadow of apartheid in South Africa. So I'm guessing you don't want the Musks and Thiels. They won't be welcome in Europe, will they?Simon Kuper: I don't think they want to go. I mean, if you want to create a tech company, you want very deep capital markets. You want venture capital firms that are happy to bet a few billion on you. And a very good place to do that, the best place in the world by far, is Silicon Valley. And so a French friend of mine said he was at a reception in San Francisco, surrounded by many, many top French engineers who all work for Silicon Valley firms, and he thought, what would it take them to come back? He didn't have an answer. Now the answer might be, maybe, well, Donald Trump could persuade them to leave. But they want to keep issuing visas for those kinds of people. I mean, the thing is that what we're seeing with Chinese AI breakthroughs in what was called DeepSeek. Also in overtaking Tesla on electric cars suggests that maybe, you know, the cutting edge of innovation is moving from Silicon Valley after nearly 100 years to China. This is not my field of expertise at all. But you know the French economist Thomas Filippon has written about how the American economy has become quite undynamic because it's been taken over by monopolies. So you can't start another Google, you can start another Amazon. And you can't build a rival to Facebook because these companies control of the market and as Facebook did with WhatsApp or Instagram, they'll just buy you up. And so you get quite a much more static tech scene than 30 years ago when really, you know, inventions, great inventions are being made in Silicon Valley all the time. Now you get a few big companies that are the same for a very long period.Andrew Keen: Well, of course, you also have OpenAI, which is a startup, but that's another conversation.Simon Kuper: Yeah, the arguments in AI is that maybe China can do it better.Andrew Keen: Can be. I don't know. Well, it has, so to speak, Simon, the light bulb gone off in Europe on all this on all these issues. Mario Draghi month or two ago came out. Was it a white paper or report suggesting that Europe needed to get its innovation act together that there wasn't enough investment or capital? Are senior people within the EU like Draghi waking up to the reality of this historical opportunity to seize back economic power, not just cultural and political.Simon Kuper: I mean, Draghi doesn't have a post anymore, as far as I'm aware. I mean of course he was the brilliant governor of the European Central Bank. But that report did have a big impact, didn't it? It had a big impact. I think a lot of people thought, yeah, this is all true. We should spend enormous fortunes and borrow enormous fortunes to create a massive tech scene and build our own defense industries and so on. But they're not going to do it. It's the kind of report that you write when you don't have a position of power and you say, this is what we should do. And the people in positions of power say, oh, but it's really complicated to do it. So they don't do it, so no, they're very, there's not really, we've been massively overtaken and left behind on tech by the US and China. And there doesn't seem to be any impetus, serious impetus to build anything on that scale to invest that kind of money government led or private sector led in European tech scene. So yeah, if you're in tech. Maybe you should be going to Shanghai, but you probably should not be going to Europe. So, and this is a problem because China and the US make our future and we use their cloud servers. You know, we could build a search engine, but we can't liberate ourselves from the cloud service. Defense is a different matter where, you know, Draghi said we should become independent. And because Trump is now European governments believe Trump is hostile to us on defense, hostile to Ukraine and more broadly to Europe, there I think will be a very quick move to build a much bigger European defense sector so we don't have to buy for example American planes which they where they can switch off the operating systems if they feel like it.Andrew Keen: You live in Paris. You work for the FT, or one of the papers you work for is the FT a British paper. Where does Britain stand here? So many influential Brits, of course, went to America, particularly in the 20th century. Everyone from Alfred Hitchcock to Christopher Hitchens, all adding enormous value like Arendt and Ayn Rand. Is Britain, when you talk of Europe, are you still in the back of your mind thinking of Britain, or is it? An island somehow floating or stuck between America, the end of the American dream and the beginning of the European dream. In a way, are you suggesting that Brits should come to Europe as well?Simon Kuper: I think Britain is floating quite rapidly towards Europe because in a world where you have three military superpowers that are quite predatory and are not interested in alliances, the US, China and Russia, the smaller countries, and Britain is a smaller country and has realized since Brexit that it is a small country, the small countries just need to ally. And, you know, are you going to trust an alliance with Trump? A man who is not interested in the fates of other countries and breaks his word, or would you rather have an alliance with the Europeans who share far more of your values? And I think the Labor government in the UK has quietly decided that, I know that it has decided that on economic issues, it's always going to prioritize aligning with Europe, for example, aligning food standards with Europe so that we can sell my food. They can sell us our food without any checks because we've accepted all their standards, not with the US. So in any choice between, you know, now there's talk of a potential US-UK trade deal, do we align our standards with the US. Or Europe? It's always going to be Europe first. And on defense, you have two European defense powers that are these middle powers, France and the UK. Without the UK, there isn't really a European defense alliance. And that is what is gonna be needed now because there's a big NATO summit in June, where I think it's going to become patently obvious to everyone, the US isn't really a member of NATO anymore. And so then you're gonna move towards a post US NATO. And if the UK is not in it, well, it looks very, very weak indeed. And if UK is alone, that's quite a scary position to be in in this world. So yeah, I see a UK that is not gonna rejoin the European Union anytime soon. But is more and more going to ally itself, is already aligning itself with Europe.Andrew Keen: As the worm turned, I mean, Trump has been in power 100 days, supposedly is limited to the next four years, although he's talking about running for a third term. Can America reverse itself in your view?Simon Kuper: I think it will be very hard whatever Trump does for other countries to trust him again. And I also think that after Trump goes, which as you say may not be in 2028, but after he goes and if you get say a Biden or Obama style president who flies to Europe and says it's all over, we're friends again. Now the Europeans are going to think. But you know, it's very, very likely that in four years time, you will be replaced by another America first of some kind. So we cannot build a long term alliance with the US. So for example, we cannot do long term deals to buy Americans weapons systems, because maybe there's a president that we like, but they'll be succeeded by a president who terrifies us quite likely. So, there is now, it seems to me, instability built in for the very long term into... America has a potential ally. It's you just can't rely on this anymore. Even should Trump go.Andrew Keen: You talk about Europe as one place, which, of course, geographically it is, but lots of observers have noted the existence, it goes without saying, of many Europe's, particularly the difference between Eastern and Western Europe.Simon Kuper: I've looked at that myself, yes.Andrew Keen: And you've probably written essays on this as well. Eastern Europe is Poland, perhaps, Czech Republic, even Hungary in an odd way. They're much more like the United States, much more interested perhaps in economic wealth than in the other metrics that you write about in your essay. Is there more than one Europe, Simon? And for Americans who are thinking of coming to Europe, should it be? Warsaw, Prague, Paris, Madrid.Simon Kuper: These are all great cities, so it depends what you like. I mean, I don't know if they're more individualistic societies. I would doubt that. All European countries, I think, could be described as social democracies. So there is a welfare state that provides people with health and education in a way that you don't quite have in the United States. And then the opposite, the taxes are higher. The opportunities to get extremely wealthy are lower here. I think the big difference is that there is a part of Europe for whom Russia is an existential threat. And that's especially Poland, the Baltics, Romania. And there's a part of Europe, France, Britain, Spain, for whom Russia is really quite a long way away. So they're not that bothered about it. They're not interested in spending a lot on defense or sending troops potentially to die there because they see Russia as not their problem. I would see that as a big divide. In terms of wealth, I mean, it's equalizing. So the average Pole outside London is now, I think, as well off or better than the average Britain. So the average Pole is now as well as the average person outside London. London, of course, is still.Andrew Keen: This is the Poles in the UK or the Poles.Simon Kuper: The Poles in Poland. So the Poles who came to the UK 20 years ago did so because the UK was then much richer. That's now gone. And so a lot of Poles and even Romanians are returning because economic opportunities in Poland, especially, are just as good as in the West. So there has been a little bit of a growing together of the two halves of the continent. Where would you live? I mean, my personal experience, having spent a year in Madrid, it's the nicest city in the world. Right, it's good. Yeah, nice cities to live in, I like living in big cities, so of big cities it's the best. Spanish quality of life. If you earn more than the average Spaniard, I think the average income, including everyone wage earners, pensioners, students, is only about $20,000. So Spaniards have a problem with not having enough income. So if you're over about $20000, and in Madrid probably quite a bit more than that, then it's a wonderful life. And I think, and Spaniards live about five years longer than Americans now. They live to about age 84. It's a lovely climate, lovely people. So that would be my personal top recommendation. But if you like a great city, Paris is the greatest city in the European Union. London's a great, you know, it's kind of bustling. These are the two bustling world cities of Europe, London and Paris. I think if you can earn an American salary, maybe through working remotely and live in the Mediterranean somewhere, you have the best deal in the world because Mediterranean prices are low, Mediterranean culture, life is unbeatable. So that would be my general recommendation.Andrew Keen: Finally, Simon, being very generous with your time, I'm sure you'd much rather be outside in Paris in what you call the greatest city in the EU. You talk in the piece about three metrics that show that it's time to move to Europe, housing, education, sorry, longevity, happiness and the environment. Are there any metrics at all now to stay in the United States?Simon Kuper: I mean, if you look at people's incomes in the US they're considerably higher, of course, your purchasing power for a lot of things is less. So I think the big purchasing power advantage Americans have until the tariffs was consumer goods. So if you want to buy a great television set, it's better to do that out of an American income than out of a Spanish income, but if you want the purchasing power to send your kids to university, to get healthcare. Than to be guaranteed a decent pension, then Europe is a better place. So even though you're earning more money in the US, you can't buy a lot of stuff. If you wanna go to a nice restaurant and have a good meal, the value for money will be better in Europe. So I suppose if you wanna be extremely wealthy and you have a good shot at that because a lot people overestimate their chance of great wealth. Then America is a better bet than Europe. Beyond that, I find it hard to right now adduce reasons. I mean, it's odd because like the Brexiteers in the UK, Trump is attacking some of the things that really did make America great, such as this trading system that you can get very, very cheap goods in the United States, but also the great universities. So. I would have been much more positive about the idea of America a year ago, but even then I would've said the average person lives better over here.Andrew Keen: Well, there you have it. Simon Cooper says to Americans, it's time to move to Europe. The American dream has ended, perhaps the beginning of the European dream. Very provocative. Simon, we'll get you back on the show. Your column is always a central reading in the Financial Times. Thanks so much and enjoy Paris.Simon Kuper: Thank you, Andrew. Enjoy San Francisco. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

This week we have brand new guest Tim Schneider from Germany! Tim is an incredibly talented Leagues of Votann player who was the highest point scorer of the event at the Pyra Cup in Poland.In part 1 of the show we review his list and how it operates, and then in part 2 we go through the actual play by plays of all of Tim's games.Part two of this show is for our patrons. You can subscribe and get access at patreon.com/aow40kDon't forget to join our discord as well when you become a patron!Pyra Cup NationsTim Schneider++++++++++++++++++++++++++++++++++++++++++++++++ FACTION KEYWORD: Xenos - Leagues of Votann+ DETACHMENT: Oathband+ TOTAL ARMY POINTS: 1990pts++ WARLORD: Char1: Brôkhyr Iron-master+ ENHANCEMENT: Appraising Glare (on Char1: Brôkhyr Iron-master)+ NUMBER OF UNITS: 14+ SECONDARY: - Bring It Down: (3x2) + (2x4) - Assassination: 2 Characters+++++++++++++++++++++++++++++++++++++++++++++++CHARACTERChar1: 5x Brôkhyr Iron-master (85 pts)• 1x Brôkhyr Iron-master Warlord1 with Graviton hammer, Graviton rifle• 3x E-COG1 with Autoch-pattern bolt pistol, Close combat weapon1 with Plasma torch1 with Manipulator arms• 1x Ironkyn Assistant1 with Close combat weapon, Las-beam cutterEnhancement: Appraising Glare (+20 pts)Char2: 1x Einhyr Champion (60 pts)1 with Autoch-pattern combi-bolter, Darkstar axe• Weavefield crest (edited)[2:04 AM]BATTLELINE10x Hearthkyn Warriors (100 pts)• 9x Hearthkyn Warrior4 with Autoch-pattern bolt pistol, Close combat weapon, Autoch-pattern bolter1 with Autoch-pattern bolt pistol, Close combat weapon, Autoch-pattern bolter• Pan spectral scanner1 with Autoch-pattern bolt pistol, Close combat weapon, Autoch-pattern bolter• Medipack1 with Autoch-pattern bolt pistol, Close combat weapon, Autoch-pattern bolter• Comms array1 with Autoch-pattern bolt pistol, Close combat weapon, HYLas auto rifle*1 with Autoch-pattern bolt pistol, Close combat weapon, HYLas rotary cannon*• 1x Theyn1 with Close combat weapon, Etacarn plasma pistol, Kin melee weapon• Weavefield crest10x Hearthkyn Warriors (100 pts)• 9x Hearthkyn Warrior4 with Autoch-pattern bolt pistol, Close combat weapon, Autoch-pattern bolter1 with Autoch-pattern bolt pistol, Close combat weapon, Autoch-pattern bolter• Pan spectral scanner1 with Autoch-pattern bolt pistol, Close combat weapon, Autoch-pattern bolter• Medipack1 with Autoch-pattern bolt pistol, Close combat weapon, Autoch-pattern bolter• Comms array1 with Autoch-pattern bolt pistol, Close combat weapon, HYLas auto rifle*1 with Autoch-pattern bolt pistol, Close combat weapon, HYLas rotary cannon*• 1x Theyn1 with Close combat weapon, Etacarn plasma pistol, Kin melee weapon• Weavefield crest[2:05 AM]OTHER DATASHEETS10x Cthonian Beserks (200 pts)• 10x Beserk8 with Concussion maul2 with Mole grenade launcher, Concussion maul10x Cthonian Beserks (200 pts)• 10x Beserk8 with Concussion maul2 with Mole grenade launcher, Concussion maul10x Hernkyn Yaegirs (90 pts)• 10x Hernkyn Yaegir8 with Close combat weapon, Bolt revolver and plasma knife1 with APM launcher, Close combat weapon1 with Close combat weapon, Magna-coil rifle6x Hernkyn Pioneers (180 pts)• 6x Hernkyn Pioneer1 with Bolt revolver, Bolt shotgun, Magna-coil autocannon, Plasma knife1 with Bolt revolver, Bolt shotgun, Magna-coil autocannon, Plasma knife• Comms array2 with Bolt revolver, Bolt shotgun, HYLas rotary cannon, Magna-coil autocannon, Plasma knife1 with Bolt revolver, Bolt shotgun, Magna-coil autocannon, Plasma knife• Pan-spectral scanner1 with Bolt revolver, Bolt shotgun, Magna-coil autocannon, Plasma knife• Rollbar searchlight6x Hernkyn Pioneers (180 pts)• 6x Hernkyn Pioneer1 with Bolt revolver, Bolt shotgun, Magna-coil autocannon, Plasma knife1 with Bolt revolver, Bolt shotgun, Magna-coil autocannon, Plasma knife• Comms array2 with Bolt revolver, Bolt shotgun, HYLas rotary cannon, Magna-coil autocannon, Plasma knife1 with Bolt revolver, Bolt shotgun, Magna-coil autocannon, Plasma knife• Pan-spectral scanner1 with Bolt revolver, Bolt shotgun, Magna-coil autocannon, Plasma knife• Rollbar searchlight1x Hekaton Land Fortress (225 pts)1 with Armoured wheels, MATR autocannon, SP heavy conversion beamer, 2x Twin bolt cannon• Pan spectral scanner1x Hekaton Land Fortress (225 pts)1 with Armoured wheels, MATR autocannon, SP heavy conversion beamer, 2x Twin bolt cannon• Pan spectral scanner1x Sagitaur (115 pts)1 with Armoured wheels, Twin bolt cannon, HYLas beam cannon1x Sagitaur (115 pts)1 with Armoured wheels, Twin bolt cannon, HYLas beam cannon1x Sagitaur (115 pts)1 with Armoured wheels, Twin bolt cannon, HYLas beam cannon

Malte und Fred interviewen für euch den Gewinner der German Finals und damit den Deutschen Meister 2024. Die gesamte Saison 2024 von 1.1. bis 2.12.2024 hat Tim sich auf deutschen Turnieren behauptet und das Ranking mit dem 2. Platz abgeschlossen. Auf den Finals konnte er sich dann ungeschlagen gegen die 12 anderen besten Spieler Deutschlands durchsetzen und als Sieger der Finals den Titel erringen. Die Sensation ist, dass dies Tims erste 40k Turnier Saison war! Und Votann sind ja eigentlich auch gar nicht so stark. Der Start an die Spitze der Turnierplatzierungen ging schnell, aber auch nicht ohne Hürden. Nachdem er seine berücktige Doppel Land Fortress Liste im Juli das erste mal auf Turnieren ausgeführt hat, hat er nur ein einziges Spiel in Deutschland verloren! Schaut euch die Spiele von Tim auf den German Finals an: https://www.youtube.com/playlist?list=PLyfnFjLE-csntDJdoDOEtSy0coZZ647-s Infos zu den Turnieren von Tim findet ihr hier: https://breakingheads.de/team-germany-ranking/ Zeitstempel 00:00 Begrüßung 2:27 Wie fühlt es sich an Deutscher Meister zu werden? 6:33 Tims 40k Saison 2024 12:30 Woher kommt die Doppel Landfortress Liste? 18:34 Votann in der internationalen Turnier Szene 22:25 Tims Spielstil 27:32 Wie traininert Tim und das Team Zugzwang? 36:35 Tims erste Wahl in der Gruppenauswahl 41:20 Meta Erwartungen von Team Zugzwang 52:58 Spiel 1 vs Fritz' Necrons 59:16 Spiel 2 vs Girschas Ultras 1:03:50 Spiel 3 vs Chris' Orks 1:11:20 Halbfinale vs Manus CSM 1:16:16 Finale vs Manus Admech 1:29:12 Training vs Erfahrung vs Meta-Chasing bei 40k 1:46:30 Was macht Tim, wenn Votann stark generft werden? 1:50:00 Was sind Tims nächste 40k Ziele? Folge direkt herunterladen

In this week's episode of the ArtTactic Podcast, host Adam Green is joined by Tim Schneider, founder of The Gray Market, to explore his much-anticipated annual art market predictions. Known for his sharp insights and bold forecasts, Tim shares highlights from his newly published 2025 predictions, diving into topics that are shaping the art world. Together, they discuss the potential sale of Frieze to Ari Emanuel, the possibility of Beeple's Everydays: The First 5000 Days returning to the market, and the growing presence of high-end gallery pop-ups in Saudi Arabia. Tim also addresses the unsettling rise of deepfake technology and its implications for the art market. In addition, Tim reveals a brand-new prediction exclusively for this episode and reflects on his recent transition of The Gray Market to Substack.

Oh man. We are back. Barely. We are back to preview Art Basel Miami (though yes, this is being uploaded on the plane ride home). We are joined by our friend, journalist and writer of The Gray Market Tim Schneider for a belated look back at the auction season that was and a less belated look ahead at what Miami has in store. All that and MORE on THE ONLY ART PODCAST. --- Support this podcast: https://podcasters.spotify.com/pod/show/benjamin-godsill/support

At times, trying to take a broking business to the next level can feel like cycling to the summit of a steep and windy mountain. So, how do good brokers break free from the pack? In this episode of In Focus, we catch up with Mortgage Choice state manager for Victoria/Tasmania, Tim Schneider, and Mortgage Choice Noosaville and Peregian Beach franchisee Gordon MacVicar to find out: How the aggregator has been helping franchisees shift gears and accelerate their businesses. The benefits of peer-to-peer learning. Key takeaways from the program so far.

This week: it's arguably the best loved of the major art fairs among collectors and dealers, but what have we learned about the art market at this year's Art Basel, in its original Swiss home? The Art Newspaper's acting art market editor, Tim Schneider, tells us about the big sales in Switzerland amid the wider market picture. The journalist Lynn Barber has a new book out, called A Little Art Education, in which she reflects on her encounters with artists from Salvador Dalí to Tracey Emin. We talk to her about the highs and lows of several decades of artist interviews. And this episode's Work of the Week is Woman Leaning on a Portfolio (1799) by Guillaume Lethière. Lethiére was born in Guadeloupe in the Caribbean to a plantation-owner father and an enslaved mother, but eventually became one of the most notable painters of his period in France and beyond. We talk to Esther Bell and Olivier Meslay, the curators of a major survey of Lethière's work opening this week at the Clark Art Institute in Williamstown, Massachusetts, US, and travelling later in the year to the Louvre in Paris.Art Basel, Basel, Switzerland, until Sunday, 16 June.A Little Art Education by Lynn Barber, Cheerio, £15 (hb).Guillaume Lethière, Clark Art Institute, Williamstown, Massachusetts, US,15 June-14 October; Musée du Louvre, Paris, 13 November-17 February 2025 Hosted on Acast. See acast.com/privacy for more information.

The convicted art fraudster Inigo Philbrick is out of prison and possibly seeking a return to art dealing. How is that possible? Tim Schneider, The Art Newspaper's acting art market editor, tells us about Philbrick's story, why the art trade is a natural habitat for fraud, and why a criminal past need not lead to art-world banishment. In the wake of the first Art Basel Hong Kong art fair to take place after the newly instated Article 23 security law, our associate digital editor Alexander Morrison talks to our correspondent in China, Lisa Movius, about the law's impact on artists, museums and others in the art world now and in the future. And this episode's Work of the Week is a sword associated with Ranjit Singh, the Maharaja who is the subject of a major exhibition opening next week at the Wallace Collection in London. Davinder Toor, the co-curator of the show, tells us more.Ranjit Singh: Sikh, Warrior, King, Wallace Collection, London, 10 April-20 October Hosted on Acast. See acast.com/privacy for more information.

In this week's episode of the ArtTactic Podcast, we're joined by Tim Schneider, the writer behind the Gray Market and the acting art market editor at The Art Newspaper. Tim shares his art market predictions for 2024, which touch on auction sales, fallout from the Israel-Hamas war, Patrick Drahi's ownership of Sotheby's, the consolidation of art fairs and AI-powered image generator.

This week: the astonishing civil trial in Manhattan between a Russian oligarch and Sotheby's. The Art Newspaper's acting art market editor, Tim Schneider, witnessed the Russian billionaire Dmitry Rybolovlev's testimony in the trial in New York in which he accuses Sotheby's of aiding the Swiss art dealer Yves Bouvier in an alleged fraud. It relates to the sale of major works of art, including the controversial Leonardo painting Salvator Mundi. Tim joins us to tell us about this extraordinary case. The second edition of Art SG art fair in Singapore has opened—with a 29% fall in the number of galleries. It takes place amid a wider festival, Singapore Art Week, and Lisa Movius, our reporter in Asia, tells us about the mood in Singapore and the wider art scene beyond Art SG. She also reflects on last weekend's election in Taiwan. And our first Work of the Week of 2024 is the South African artist Zanele Muholi's photograph ZaVa III, Paris (2013). The image is one of more than 100 works in Zanele Muholi: Eye Me, an exhibition that has just opened at the San Francisco Museum of Modern Art. Shana Lopes, one of the curators of the exhibition, tells us more.Art SG, until Sunday; Singapore Art Week until 28 January, artweek.sgZanele Muholi: Eye Me, San Francisco Museum of Modern Art, US, until 11 August. Hosted on Acast. See acast.com/privacy for more information.

In the first episode of 2024 we look ahead to the next 12 months. The Art Newspaper's acting art market editor Tim Schneider peers into his crystal ball to tell us what we might expect from the coming 12 months in the art market. Then, Jane Morris, editor-at-large, Gareth Harris, chief contributing editor, and host Ben Luke select the biennials and exhibitions they are most looking forward to in 2024.Events discussed:60th Venice Biennale: Foreigners Everywhere, 20 April-24 November; Pierre Huyghe, Punta Della Dogana, Venice, 17 March-24 November; Julie Mehretu, Palazzo Grassi, Venice, 17 March-6 January; Willem de Kooning, Gallerie dell'Accademia, Venice, 16 April–15 September; Jean Cocteau, Peggy Guggenheim Collection, Venice, 13 April-16 September; Whitney Biennial: Whitney Museum of American Art, opens 20 March; PST Art: Art & Science Collide, 14 September-16 February; Istanbul Biennial, 14 September-17 November; Diriyah Contemporary Art Biennale 2024, Saudi Arabia, 20 February-24 May; Desert X 2024 AlUla, Saudi Arabia, 9 February-30 April; Frick Collection, New York, reopening late 2024; Grand Egyptian Museum, Giza, Egypt, dates tbc; IMAGINE!: 100 Years of International Surrealism, The Royal Museums of Fine Arts of Belgium, 21 February-21 July; Centre Pompidou, Paris, 4 September-6 January (travels to Hamburger Kunsthalle, Germany, Fundación Mapfré, Madrid, Philadelphia Museum of Art, US); Paris 1874: Inventing impressionism, Musée d'Orsay, 26 March-14 July; National Gallery of Art, Washington DC, 8 September-19 January; Van Gogh, National Gallery, London, 14 September-19 January; Matthew Wong, Vincent van Gogh, Van Gogh Museum, Amsterdam, 1 March-1 September; Caspar David Friedrich, Kunsthalle, Hamburg, Germany, until 1 April; Caspar David Friedrich, Alte Nationalgalerie, Berlin, 19 April-4 August; Caspar David Friedrich, Albertinum and Kupferstich-Kabinett, Dresden, Germany, 24 August-5 January; Arte Povera, Bourse de Commerce, Paris, 9 October-24 March; Brancusi, Centre Pompidou, Paris, 27 March-1 July; Comics, Centre Pompidou, Paris, 29 May-4 November; Yoko Ono, Tate Modern, London, 15 February-1 September 2024; Angelica Kauffman, Royal Academy, London, 1 March-30 June; Women Artists in Britain, Tate Britain, London, 16 May-13 October; Judy Chicago, Serpentine North, London, 22 May-1 September; Vanessa Bell, Courtauld Gallery, London, 25 May-6 October; Woven Histories: Textiles and Modern Abstraction, Los Angeles County Museum of Art, US, until 21 January; National Gallery of Art, Washington DC, 17 March-28 July; National Gallery of Canada, Ottawa, 25 October-2 March; The Museum of Modern Art, New York, dates tbc; Unravel: The Power and Politics of Textiles in Art, Barbican, London, 13 February-26 May 2024, Stedelijk Museum, Amsterdam, 14 September-5 January; The Harlem Renaissance, Metropolitan Museum of Art, New York, 25 February-28 July; Siena: the Rise of Painting, 1300-50, Metropolitan Museum, 13 October-26 January; Museum of Modern Art, New York, shows: Joan Jonas, 17 March-6 July, LaToya Ruby Frazier, 12 May-7 September, Käthe Kollwitz, 31 March-20 July; Kollwitz, Städel Museum, Frankfurt, Germany, 20 March-9 June; Käthe Kollwitz, SMK-National Gallery of Denmark, Copenhagen, 7 November-25 February; The Anxious Eye: German Expressionism and Its Legacy, National Gallery of Art, Washington DC, 11 February-27 May; Expressionists, Tate Modern, London, 25 April-20 October; Gabriele Münter: the Great Expressionist Woman Painter, Thyssen Bornemisza, Madrid, 12 November-9 February Hosted on Acast. See acast.com/privacy for more information.

This week: the final big art market event of the year, Art Basel in Miami Beach. The Art Newspaper's associate digital editor, Alexander Morrison, talks to our acting art market editor, Tim Schneider, in Miami about the fair, as tensions rise ahead of the pivotal 2024 US election. In Athens, the National Museum of Contemporary Art, or EMST, is next week opening a months-long programme which will end up with the entire museum filled with women artists. We talk to EMST's director, Katerina Gregos, about the programme, called What if Women Ruled the World? And this episode's Work of the Week is two objects: the 15th-century Florentine artist Francesco Pesellino's panels telling the story of David and Goliath, made for a luxurious cassone or chest for the Medici family. The panels belong to the National Gallery in London and have just been restored for a new exhibition there, Pesellino: A Renaissance Master Revealed. We talk to Jill Dunkerton, who did the restoration, about these extraordinary paintings.Art Basel in Miami Beach, Miami Beach Convention Center, until Sunday, 10 December.What if Women Ruled the World? begins at EMST, Athens, on 14 December.Pesellino: A Renaissance Master Revealed, National Gallery, London, until 10 March 2024. Hosted on Acast. See acast.com/privacy for more information.

This week: the New York auctions. Tim Schneider, The Art Newspaper's acting art market editor, joins us to discuss two weeks of major sales in New York and whether they have calmed a jittery art market. Multiple Realities: Experimental Art in the Eastern Bloc, 1960s–1980s, an exhibition exploring radical art made in six countries under communist rule in Central Eastern Europe, has just opened at the Walker Art Center in Minneapolis, US, before travelling to Phoenix, Arizona and Vancouver. We talk to the curator in Minneapolis, Pavel Pyś. And this episode's Work of the Week is Terry Adkins's Last Trumpet (1995). This sculptural installation is included in the latest edition of Artist's Choice, a regular series of shows exploring the collection of the Museum of Modern Art in New York, selected by notable figures outside the museum. This latest iteration, Spirit Movers, has been chosen by the fashion designer Grace Wales Bonner. We talk to Michelle Kuo, a curator of painting and sculpture at the museum, who has worked with Wales Bonner on the show.Multiple Realities: Experimental Art in the Eastern Bloc, 1960s–1980s is at the Walker Art Center, Minneapolis, until 10 March 2024, it then travels to the Phoenix Art Museum, Arizona, US, 17 April-29 September 2024 and then the Vancouver Art Gallery, Canada, 2 November 2024-23 March 2025.Artist's Choice: Grace Wales Bonner—Spirit Movers, Museum of Modern Art, New York, 18 November-7 April 2024 Hosted on Acast. See acast.com/privacy for more information.

The Frieze art fair has turned 20 this week, and is only growing in its ambitions, having acquired the Armory Show fair in New York and Expo Chicago. So what should we make of Frieze's continuing expansion and what's the mood at Frieze London and Frieze Masters this year? We talk to Tim Schneider, The Art Newspaper's acting art market editor, who is over from New York for the fairs. In Reykjavik in Iceland, the artist-run Sequences Biennial opens on Friday. A former curator of the event is Hildigunnur Birgisdóttir, who will represent Iceland at the Venice Biennale in 2024. Tom Seymour went to the Icelandic capital to talk to her about Venice, Sequences and the Icelandic scene. And this episode's Work of the Week is Open Window, Collioure (1905) by Henri Matisse. The painting is a highlight of the exhibition Vertigo of Colour: Matisse, Derain, and the Origins of Fauvism at the Metropolitan Museum of Art in New York. We speak to Dita Amory, co-curator of the show, about this landmark painting in Matisse's career.Frieze London and Frieze Masters, Regent's Park, London, until 15 October.The Sequences Biennial, entitled Can't See, begins on 13 October and continues until 22 October 2023.Vertigo of Color: Matisse, Derain, and the Origins of Fauvism, Metropolitan Museum of Art, New York, 13 October-21 January 2024; Museum of Fine Arts, Houston, 25 February-27 May 2024. Hosted on Acast. See acast.com/privacy for more information.

Vom Keller eines Möbelladens in eine über 500 Quadratmeter große Sporthalle: Das Soccer Performance Center, ein vereinsunabhängiges Leistungszentrum, öffnet am 10. September erstmals seine Pforten in Krefeld. Wir haben uns mit den beiden Geschäftsführern Tim Schneider und Johannes Dahms unterhalten. Wieso das Ganze für euch als Amateurfußballer besonders interessant ist, inwiefern sich das Training vor Ort von anderen Dienstleistern abhebt und wo das Soccer Performance Center seinen Ursprung als Idee hatte, erfahrt ihr in Folge #90. Viel Spaß beim Zuhören! Das Soccer Performance Center auf Instagram ➡️ https://instagram.com/Soccerperformancecenter/ Niederrheinbolzer 47 auf Instagram ➡️ https://www.instagram.com/niederrheinbolzer47/

It used to be that the art news slowed down in the summer months, but these days, it seems like the art news never takes a break. So we're trying something a little different this week. With so much going on, instead of interviewing just one person for the podcast, we have three of our best writer-editors together to chat about some of the stories that have been in the air in July. This week, Artnet News global art critic Ben Davis speaks to Europe editor Kate Brown and business editor Tim Schneider about three stories. The first item is the news that Frieze, the international art fair chain, has acquired New York's flagship fair Armory Show and Expo Chicago, and what that means for the state of the art market. The second item covers recent developments in the world of NFTs, including a drop from the Jackson Pollock Studio that sold out within the first few hours, and Melania Trump's skirmish with NASA about some space-themed NFTs, plus the state of crypto in the art world at large. Finally, the trio discuss how artists have dealt with Barbie in the past, as a subject of inspiration and satire, and the release of both Greta Gerwig's film based on the Mattel doll and Christopher Nolan's opus on Robert Oppenheimer are filtering through the culture—and which side the art world comes down on in the big Barbie versus Oppenheimer face off.

It used to be that the art news slowed down in the summer months, but these days, it seems like the art news never takes a break. So we're trying something a little different this week. With so much going on, instead of interviewing just one person for the podcast, we have three of our best writer-editors together to chat about some of the stories that have been in the air in July. This week, Artnet News global art critic Ben Davis speaks to Europe editor Kate Brown and business editor Tim Schneider about three stories. The first item is the news that Frieze, the international art fair chain, has acquired New York's flagship fair Armory Show and Expo Chicago, and what that means for the state of the art market. The second item covers recent developments in the world of NFTs, including a drop from the Jackson Pollock Studio that sold out within the first few hours, and Melania Trump's skirmish with NASA about some space-themed NFTs, plus the state of crypto in the art world at large. Finally, the trio discuss how artists have dealt with Barbie in the past, as a subject of inspiration and satire, and the release of both Greta Gerwig's film based on the Mattel doll and Christopher Nolan's opus on Robert Oppenheimer are filtering through the culture—and which side the art world comes down on in the big Barbie versus Oppenheimer face off.

Die REWE Inhouse Consulting prägt die Einkaufsmärkte der Zukunft. Exklusive Insights und Bewerbungstipps gibt Tim Schneider in dieser Episode.

In the Covid summer of 2020, the art world was jolted by a very different kind of drama when reports surfaced that MCH Group, the Swiss corporation best known as the parent company of Art Basel, had entered talks to sell a significant equity stake to Lupa Systems, the private investment company founded by none other than James Murdoch. For listeners who haven't spent years devouring media-sector or political gossip, James Murdoch is the fourth of six children of billionaire media mogul Rupert Murdoch, now most infamous for presiding over the hard-right coverage beamed out through Fox News in the U.S. and various overseas properties via his News Corp conglomerate. The proximity of the Murdoch family to Art Basel initially sent some people in the art world into hysterics. One conspiracy theory even held that James was acting as a front for his father, who would take control of the planet's best known, most prestigious art fair and… well, it was never quite clear what he would do, or why he would care, but obviously something dastardly and irreparable was about to happen, and we should all prepare for the worst. Yet people interested in digging soon found out that James Murdoch is very much his own man with his own resources. Although he spent decades in the family business, including prominent roles in some of its satellite TV and entertainment companies, he cut his final tie to the empire when he resigned from the board of News Corp in July 2020. He has been a public critic of Donald Trump as far back as 2017, and through Quadrivium, the foundation James and his wife Kathryn started in 2014, he has funneled substantial philanthropic resources into counteracting climate change, promoting evidence-based solutions in science and health, expanding voting rights, and pushing back against online extremism.He's also a mogul in his own right. When Disney paid a knee-buckling $71.3 billion in 2019 to acquire nearly all of the Murdochs' entertainment assets, James received a reported $2.2 billion from the deal. He launched Lupa Systems shortly after, with sources claiming at the time that he would invest up to $1 billion of his wealth through the company. By fall of 2020, MCH Group's shareholders had approved the deal to make Lupa Systems the company's new “anchor shareholder,” with the option to buy up to 49 percent of its shares. But in the time since, we've heard relatively little from James Murdoch himself about how MCH Group and Art Basel fits alongside the other ventures in Lupa's portfolio, including media properties like the Tribeca Festival, advanced technology startups, and sustainability projects Ahead of the 2023 edition of Art Basel in Basel, however, Artnet News Art Business Editor, Tim Schneider, managed to sit down with James at Lupa Systems New York offices to hear his thinking firsthand.

In the Covid summer of 2020, the art world was jolted by a very different kind of drama when reports surfaced that MCH Group, the Swiss corporation best known as the parent company of Art Basel, had entered talks to sell a significant equity stake to Lupa Systems, the private investment company founded by none other than James Murdoch. For listeners who haven't spent years devouring media-sector or political gossip, James Murdoch is the fourth of six children of billionaire media mogul Rupert Murdoch, now most infamous for presiding over the hard-right coverage beamed out through Fox News in the U.S. and various overseas properties via his News Corp conglomerate. The proximity of the Murdoch family to Art Basel initially sent some people in the art world into hysterics. One conspiracy theory even held that James was acting as a front for his father, who would take control of the planet's best known, most prestigious art fair and… well, it was never quite clear what he would do, or why he would care, but obviously something dastardly and irreparable was about to happen, and we should all prepare for the worst. Yet people interested in digging soon found out that James Murdoch is very much his own man with his own resources. Although he spent decades in the family business, including prominent roles in some of its satellite TV and entertainment companies, he cut his final tie to the empire when he resigned from the board of News Corp in July 2020. He has been a public critic of Donald Trump as far back as 2017, and through Quadrivium, the foundation James and his wife Kathryn started in 2014, he has funneled substantial philanthropic resources into counteracting climate change, promoting evidence-based solutions in science and health, expanding voting rights, and pushing back against online extremism.He's also a mogul in his own right. When Disney paid a knee-buckling $71.3 billion in 2019 to acquire nearly all of the Murdochs' entertainment assets, James received a reported $2.2 billion from the deal. He launched Lupa Systems shortly after, with sources claiming at the time that he would invest up to $1 billion of his wealth through the company. By fall of 2020, MCH Group's shareholders had approved the deal to make Lupa Systems the company's new “anchor shareholder,” with the option to buy up to 49 percent of its shares. But in the time since, we've heard relatively little from James Murdoch himself about how MCH Group and Art Basel fits alongside the other ventures in Lupa's portfolio, including media properties like the Tribeca Festival, advanced technology startups, and sustainability projects Ahead of the 2023 edition of Art Basel in Basel, however, Artnet News Art Business Editor, Tim Schneider, managed to sit down with James at Lupa Systems New York offices to hear his thinking firsthand.

Today in the spring of 2023, it feels almost impossible to escape news, rumors, debates, think pieces, open letters, diatribes, scandals, lawsuits, or almost any other form of human exchange about artificial intelligence. Whether the specific focus is on large language models like Chat-GPT or text-to-image generators like DALL-E and Midjourney, the discourse around A.I. technology has only gotten more expansive, more heated, and more perplexing since last fall. That was when a genuinely surreal series of events on the live streaming platform Twitch helped surface the escalating tensions between A.I.-powered image generators and human artists. While the story in question hinged on an accusation of plagiarism, it also served as a launchpad into an in-progress existential crisis in the art world—an existential crisis that keeps intensifying as the influence, accessibility, and aesthetic quality of algorithmic image generators keeps leveling up. In October, Artnet News business editor Tim Schneider interviewed contributor and friend of the pod Zachary Small about the Twitch controversy and the larger questions facing visual culture in the era of big A.I. In many ways, that conversation is even more relevant now than it was back then. If you missed it the first time, or if you just want to review the state of play in the increasingly wild landscape of art and tech, here's your second chance...

Today in the spring of 2023, it feels almost impossible to escape news, rumors, debates, think pieces, open letters, diatribes, scandals, lawsuits, or almost any other form of human exchange about artificial intelligence. Whether the specific focus is on large language models like Chat-GPT or text-to-image generators like DALL-E and Midjourney, the discourse around A.I. technology has only gotten more expansive, more heated, and more perplexing since last fall. That was when a genuinely surreal series of events on the live streaming platform Twitch helped surface the escalating tensions between A.I.-powered image generators and human artists. While the story in question hinged on an accusation of plagiarism, it also served as a launchpad into an in-progress existential crisis in the art world—an existential crisis that keeps intensifying as the influence, accessibility, and aesthetic quality of algorithmic image generators keeps leveling up. In October, Artnet News business editor Tim Schneider interviewed contributor and friend of the pod Zachary Small about the Twitch controversy and the larger questions facing visual culture in the era of big A.I. In many ways, that conversation is even more relevant now than it was back then. If you missed it the first time, or if you just want to review the state of play in the increasingly wild landscape of art and tech, here's your second chance...

In this week's episode of the ArtTactic Podcast, Tim Schneider, art business editor at Artnet News and author of The Gray Market, joins us to discuss ChatGPT's impact on the art world. First, Tim explains what ChatGPT is, how it works and how one uses it. Then, he shares some examples of how ChatGPT today can easily be implemented within the art world. Also, Tim reveals how artists may leverage ChatGPT to enhance their careers. After, he states what the art world's response has been thus far. Lastly, he predicts the extent to which the art world will embrace ChatGPT over the next several years.

For Art Basel, the most well known art fair in the world, the fourth quarter of 2022 marked the end of one era, and the beginning of another. In early November, leadership of the company transitioned to Noah Horowitz, who returned after a roughly year-long stint at Sotheby's to become the first ever CEO of the same fair brand where he served as director of the Americas from 2015 to 2021. But clearing Horowitz's path to the chief executive's office was the one and only Marc Spiegler. Spiegler shocked the art world in October 2022 by announcing that he would end his decade-long campaign as Art Basel's global director at the end of that year (though he will stay on as an advisor through June of this one). During his time at the helm, Spiegler oversaw a transformation of the company across multiple dimensions, including doubling the annual number of Art Basel fairs; dramatically expanding the company's digital presence; quintupling the size of its staff; responding to a global pandemic; and much more. It's not an exaggeration to say that, if you look closely at these shifts, they mirror back some of the most important ways that the art business as a whole has morphed during the 21st century. Art Business Editor, Tim Schneider, sits down with Marc in mid-January for the first extended interview he has given in his post-Basel professional life.

For Art Basel, the most well known art fair in the world, the fourth quarter of 2022 marked the end of one era, and the beginning of another. In early November, leadership of the company transitioned to Noah Horowitz, who returned after a roughly year-long stint at Sotheby's to become the first ever CEO of the same fair brand where he served as director of the Americas from 2015 to 2021. But clearing Horowitz's path to the chief executive's office was the one and only Marc Spiegler. Spiegler shocked the art world in October 2022 by announcing that he would end his decade-long campaign as Art Basel's global director at the end of that year (though he will stay on as an advisor through June of this one). During his time at the helm, Spiegler oversaw a transformation of the company across multiple dimensions, including doubling the annual number of Art Basel fairs; dramatically expanding the company's digital presence; quintupling the size of its staff; responding to a global pandemic; and much more. It's not an exaggeration to say that, if you look closely at these shifts, they mirror back some of the most important ways that the art business as a whole has morphed during the 21st century. Art Business Editor, Tim Schneider, sits down with Marc in mid-January for the first extended interview he has given in his post-Basel professional life.

It's been a hot minute since I've had the pleasure of sharing an Unleashed Conversation with an amazing leader here with you and it felt entirely apt to kick it off with Tim Schneider. I met Tim while taking a 5 month leadership intensive he leads through his leadership company for the Vegas Chamber called Leadership Advance. It was a small cohort and considering the brevity of the program we covered a lot of ground. That's Tim for you - leadership personified. Not a surprise for someone who learned almost immediate on entering the workforce, that working for others just wasn't going to work, for him. He saw in his first job some big gaps in those who were called leaders. And in true leadership fashion, took it upon himself to sharpen his tools and then teach. Through our conversation I noticed something particularly interesting about how Tim spoke of his work. Listen closely and see if you can hear it too. He's an accomplished author with sharp wit, no holds barred kind of guy, and as it turns out some of the most powerful lessons of leadership he carries, came from his dogs. What does leadership actually mean in today's world? Good questions, right? That's what Cathy Brooks, thought. And it's why she created Talk, Unleashed – a new podcast of entirely candid conversations with fascinating people doing remarkable things. This weekly podcast features guests from arts and entertainment to business to technology to food to activism to politics (well, we'll see on that last one). Talk Unleashed invites these influencers to consider the things that have led to them to where they are, the lessons they've learned and how all those things can come together to create a better world. This podcast compliments Unleashed Leadership, the coaching business through which Cathy helps clients unearth and untether their own internal leadership and connect with others in a way that truly engages. Recently Cathy joined Paris-based start-up OpenBubble as Co-Founder and Chief Communications Officer. OpenBubble's mission is to break through issues of isolation and separation in society by creating a powerful way for people to connect and talk – with no agenda. #leadership #responsibility #timschneider #aegislearning #vegaschamber #beofservice #OpenBubble #Conversation #connection #TalkUnleashed #UnleashedConversation #UnleashedLeadership #FixYourEndofTheLeash

Well, it's happened again. Tim Schneider has gone prophetic, again. At the beginning of every year, our trusted art business editor goes through the Sisyphean task of assessing his predictions for the most recently-wrapped year in the art world, and lays down his prophecies for the next 365 days to come. As is now tradition, for his first Gray Market column of the year, Soothsayer Schneider makes a set of predictions specific to the murky machinations of the art market, each of which must be able to be proven true or false 12 months later. (For the purposes of the podcast recording, we've homed in on four very specific predictions to elaborate on, but the full list of eight is available to readers.) From the rise of artist-branded merchandise (think Basquiat-emblazoned hoodies, dog collars, and phone cases) to the death of an art fair, plus predictions about the state of the market amid skyrocketing interest rates and the ongoing war in Ukraine, here's what you should be prepared for in the year to come.

Well, it's happened again. Tim Schneider has gone prophetic, again. At the beginning of every year, our trusted art business editor goes through the Sisyphean task of assessing his predictions for the most recently-wrapped year in the art world, and lays down his prophecies for the next 365 days to come. As is now tradition, for his first Gray Market column of the year, Soothsayer Schneider makes a set of predictions specific to the murky machinations of the art market, each of which must be able to be proven true or false 12 months later. (For the purposes of the podcast recording, we've homed in on four very specific predictions to elaborate on, but the full list of eight is available to readers.) From the rise of artist-branded merchandise (think Basquiat-emblazoned hoodies, dog collars, and phone cases) to the death of an art fair, plus predictions about the state of the market amid skyrocketing interest rates and the ongoing war in Ukraine, here's what you should be prepared for in the year to come.

Well, what do you know? The year of 2022 has officially come to a close, and here at The Art Angle, we are in a reflective. It was an amazing year for the show. We interviewed luminaries like Venice Biennale curator to Cecilia Alemani, artist Marina Abramović, critic Jerry Saltz; we delved deep into the scandalous history of Documenta as well as the whole Board Ape Yacht Club phenomenon, and the new revolution and how we think about surrealism today. The turning of the calendar year, however, also marks a big change around here, with Julia Halpern, Artnet News's executive editor and frequent Art Angle host, moving on to new adventures. She was an invaluable force in shaping the show and shaping Artnet News generally, so she'll be very dearly missed and has our deepest gratitude. We wish her the best of luck. So with all this in mind, as The Art Angle takes some time off to prep for what is looking like an incredible 2023, we thought we would leave you with a repeat of one of our favorite episodes of the year. An episode we think may also prove resonant in the year to come. Well, it may be both crypto and literal winter right now but Tim Schneider's sweeping and truly ambitious Metaverse explainer episode provides a really terrific look at the way that art may evolve into its next digital era. We hope you enjoy it. See you in 2023 and Happy New Year from The Art Angle.

Well, what do you know? The year of 2022 has officially come to a close, and here at The Art Angle, we are in a reflective. It was an amazing year for the show. We interviewed luminaries like Venice Biennale curator to Cecilia Alemani, artist Marina Abramović, critic Jerry Saltz; we delved deep into the scandalous history of Documenta as well as the whole Board Ape Yacht Club phenomenon, and the new revolution and how we think about surrealism today. The turning of the calendar year, however, also marks a big change around here, with Julia Halpern, Artnet News's executive editor and frequent Art Angle host, moving on to new adventures. She was an invaluable force in shaping the show and shaping Artnet News generally, so she'll be very dearly missed and has our deepest gratitude. We wish her the best of luck. So with all this in mind, as The Art Angle takes some time off to prep for what is looking like an incredible 2023, we thought we would leave you with a repeat of one of our favorite episodes of the year. An episode we think may also prove resonant in the year to come. Well, it may be both crypto and literal winter right now but Tim Schneider's sweeping and truly ambitious Metaverse explainer episode provides a really terrific look at the way that art may evolve into its next digital era. We hope you enjoy it. See you in 2023 and Happy New Year from The Art Angle.

Inside the art world, one of the defining narratives of the past decade has been a renewed push for gender and racial equity. Much of the attention in this realm has focused on the dramatic overrepresentation of white male artists in everything from museum collections and exhibition programs, to auction sales and gallery rosters. Overtures to correcting the imbalance have been so prevalent in trade-media headlines, institutional marketing, and day-to-day conversations that many, if not most, art professionals seem to be confident that the industry is slowly but steadily reversing generations of deeply embedded racism and sexism. But how much has the art world really rebalanced the scales? It turns out that the answer is much less than we hoped––at least if we look past the hype at the actual data. Enter the latest edition of the Burns-Halperin Report, a multipronged data-led project helmed by Charlotte Burns, the veteran art journalist, podcaster, and founder of Studio Burns, and Artnet News executive editor Julia Halperin. At the core of the Burns-Halperin Report is a one-of-a-kind database encompassing hundreds of thousands of entries painstakingly compiled from U.S. museums, global auction houses, and top commercial galleries. The data quantifies how little has changed for artists in three historically underrepresented demographics since as far back as 2002. It also leaves the rest of us facing a lot of hard questions about why the art trade at large believes it's doing so much better at neutralizing its biases than it actually is. On this week's episode, Charlotte and Julia join Artnet News Art Business Editor, Tim Schneider to walk us through the report itself, how it came together, and what it all means

Inside the art world, one of the defining narratives of the past decade has been a renewed push for gender and racial equity. Much of the attention in this realm has focused on the dramatic overrepresentation of white male artists in everything from museum collections and exhibition programs, to auction sales and gallery rosters. Overtures to correcting the imbalance have been so prevalent in trade-media headlines, institutional marketing, and day-to-day conversations that many, if not most, art professionals seem to be confident that the industry is slowly but steadily reversing generations of deeply embedded racism and sexism. But how much has the art world really rebalanced the scales? It turns out that the answer is much less than we hoped––at least if we look past the hype at the actual data. Enter the latest edition of the Burns-Halperin Report, a multipronged data-led project helmed by Charlotte Burns, the veteran art journalist, podcaster, and founder of Studio Burns, and Artnet News executive editor Julia Halperin. At the core of the Burns-Halperin Report is a one-of-a-kind database encompassing hundreds of thousands of entries painstakingly compiled from U.S. museums, global auction houses, and top commercial galleries. The data quantifies how little has changed for artists in three historically underrepresented demographics since as far back as 2002. It also leaves the rest of us facing a lot of hard questions about why the art trade at large believes it's doing so much better at neutralizing its biases than it actually is. On this week's episode, Charlotte and Julia join Artnet News Art Business Editor, Tim Schneider to walk us through the report itself, how it came together, and what it all means

Proclaiming Biblical Truth in Unique Ways: In Film and Government. Gary Dull and Tim Schneider are joined by Alex Kendrick (Pastor, Co-Founder Kendrick Brothers, Film Director, Author), Stephen Kendrick (Pastor, Co-Founder Kendrick Brothers, Film Director, Author), and Kathy Barnette (Author, Veteran, Former Candidate for U.S. Senate). Topics discussed include: Proclaiming Biblical Truth in Film. Proclaiming Biblical Truth in Government/Public Policy.

In the borderlands between art and technology, no single development has sucked up more oxygen this year than the rise of image generators powered by artificial intelligence. Not so long ago, projects like these were a fringe experiment whose results were usually more intriguing for what they got wrong than for what they got right. But in 2022, A.I.-driven image generators have made a quantum leap in quality, speed, and affordability. It's not an exaggeration to say that, thanks to these tools, never in the history of civilization has it been easier, faster, or cheaper to produce professional-looking visuals of anything a person could dream up, even if they have no artistic training whatsoever. This is both extremely cool, and extremely concerning, especially if you happen to be a human who makes a living as a commercial illustrator. This October, a strange saga that played out on the live-streaming platform Twitch showed how the tension between flesh and blood image-makers and A.I. is getting stronger and weirder every day, with serious consequences for age-old debates about plagiarism, ownership, and the value of making art in the first place. Thankfully, knowledgeable and intrepid Artnet News contributor, Zachary Small, joins Art Business Editor, Tim Schneider to discuss the initial scandal and the murky future of commercial art in the age of A.I. Buckle up, because this is going to get a little surreal...

In the borderlands between art and technology, no single development has sucked up more oxygen this year than the rise of image generators powered by artificial intelligence. Not so long ago, projects like these were a fringe experiment whose results were usually more intriguing for what they got wrong than for what they got right. But in 2022, A.I.-driven image generators have made a quantum leap in quality, speed, and affordability. It's not an exaggeration to say that, thanks to these tools, never in the history of civilization has it been easier, faster, or cheaper to produce professional-looking visuals of anything a person could dream up, even if they have no artistic training whatsoever. This is both extremely cool, and extremely concerning, especially if you happen to be a human who makes a living as a commercial illustrator. This October, a strange saga that played out on the live-streaming platform Twitch showed how the tension between flesh and blood image-makers and A.I. is getting stronger and weirder every day, with serious consequences for age-old debates about plagiarism, ownership, and the value of making art in the first place. Thankfully, knowledgeable and intrepid Artnet News contributor, Zachary Small, joins Art Business Editor, Tim Schneider to discuss the initial scandal and the murky future of commercial art in the age of A.I. Buckle up, because this is going to get a little surreal...

Will interest rates keep rising? Tim Schneider, the senior vice president of ag lending at Nicolet Bank, says the verdict is mixed. The sense is that the Federal Reserve won't be as aggressive in raising rates through the end of the year, and then it will stabilize. Some say inflation will be restrained and interest rates will fall in 2023. Either way, it's influencing purchasing habits. UW Sheep Unit Director Todd Taylor has a smile on his face discussing plans for this coming year. He's welcoming new and ongoing research projects into the barn. And he's getting ready for the unit's annual sale which starts tomorrow. A rail strike may negatively impact agriculture. The deadline for an agreement is this evening. Corn growers can nominate three to the Wisconsin Corn Promotion Board by Nov. 1. Edge Co-op got $50M from USDA's $2.8B investment in 'climate-smart' commodities. ever.ag broker Cody Koster joins us to talk dairy -- primarily the record butter prices we saw on Tuesday. This is due to holiday demand. Buyers may also be reacting to national news headlines questioning a butter shortage.See omnystudio.com/listener for privacy information.

Tim Schneider, the senior vice president of ag lending at Nicolet Bank, says the verdict is mixed. The sense is that the Federal Reserve won't be as aggressive in raising rates through the end of the year, but then it will stabilize. Some say inflation will be restrained and interest rates will fall in 2023. Either way, it's influencing purchasing habits. Schneider high construction costs coupled with high interest rates, had most farms pause on expansions. Better commodity prices have allowed farmers to replace equipment. Banks are sitting on ample liquidity thanks to the stimulus that the government put into the economy over the last few years. Risk standards have been tightened with the potential of a looming recession, he adds.See omnystudio.com/listener for privacy information.

Have you ever wanted to live a different kind of life, in a different kind of place? What if this other place gave you the power to do or be almost anything you wanted, anywhere you wanted, anytime you wanted? Suppose that what you could build there, and who you could be there, had nothing to do with your finances. Not even the laws of physics would hold you back. If you wanted to be the monarch of a Gothic castle perched on a cloud suspended above a Nordic woodland, you could have that. You could even do it in a new body, under a new name, with neither one having any apparent connection to your physicality or your past. Even wilder, this other place would welcome millions of other individuals with just as much freedom as you, so that you could all build this new world together. You could form new relationships, establish new traditions, and experience a new wave of art and culture held back by nothing but artists' imaginations. Doesn't that sound wonderful? Well, billions of dollars and untold hours of labor are being pumped into making this fantasy a reality—an immersive digital reality. And some of the most influential and most powerful people in the world are saying it will be called the metaverse. But what is the metaverse, exactly? How has it elbowed its way deep enough into the mainstream that your retired parents are asking you about it? And what does it mean for the art world specifically?  This week on the Art Angle, business editor and The Gray Market scribe Tim Schneider is joined by three experts to help make sense of this potential new world order: Wagner James Au, the author of The Making of Second Life: Notes from the New World (2008) and the forthcoming book Why the Metaverse Matters: From Second Life to Meta and Beyond, A Guide By Its First Embedded Journalist and the ongoing blog, New World Notes; Tina Rivers Ryan, a curator of modern and contemporary art at the Buffalo AKG Museum in New York, who has organized exhibitions including "Difference Machines: Technology and Identity in Contemporary Art"; and Sara Ludy, an artist and composer based in Placetas, New Mexico whose current exhibition, "Swimmer's Canyon," is on view at Art Mûr in Montréal, Canada.

Have you ever wanted to live a different kind of life, in a different kind of place? What if this other place gave you the power to do or be almost anything you wanted, anywhere you wanted, anytime you wanted? Suppose that what you could build there, and who you could be there, had nothing to do with your finances. Not even the laws of physics would hold you back. If you wanted to be the monarch of a Gothic castle perched on a cloud suspended above a Nordic woodland, you could have that. You could even do it in a new body, under a new name, with neither one having any apparent connection to your physicality or your past. Even wilder, this other place would welcome millions of other individuals with just as much freedom as you, so that you could all build this new world together. You could form new relationships, establish new traditions, and experience a new wave of art and culture held back by nothing but artists' imaginations. Doesn't that sound wonderful? Well, billions of dollars and untold hours of labor are being pumped into making this fantasy a reality—an immersive digital reality. And some of the most influential and most powerful people in the world are saying it will be called the metaverse. But what is the metaverse, exactly? How has it elbowed its way deep enough into the mainstream that your retired parents are asking you about it? And what does it mean for the art world specifically?  This week on the Art Angle, business editor and The Gray Market scribe Tim Schneider is joined by three experts to help make sense of this potential new world order: Wagner James Au, the author of The Making of Second Life: Notes from the New World (2008) and the forthcoming book Why the Metaverse Matters: From Second Life to Meta and Beyond, A Guide By Its First Embedded Journalist and the ongoing blog, New World Notes; Tina Rivers Ryan, a curator of modern and contemporary art at the Buffalo AKG Museum in New York, who has organized exhibitions including "Difference Machines: Technology and Identity in Contemporary Art"; and Sara Ludy, an artist and composer based in Placetas, New Mexico whose current exhibition, "Swimmer's Canyon," is on view at Art Mûr in Montréal, Canada.

Demand from governments and businesses are rapidly creating a global carbon market but the 'in the field' managers of this Natural Capital are getting left out of climate action plans and accounts. In this episode we spotlight the Earthshot of 'Clean Our Air' by exploring the diverse and evolving role of Rangers. These essential planetary health workers help to manage the ecosystem services upon which all life on Earth depends but they're currently a missing link in global policy and investment. Enter Sean Willmore and Tim Schneider from The Thin Green Line Foundation (TGLF) and two of the convening partners in the Ranger Roundtable. In this conversation, we'll explore how Regeneration Projects has helped convening partners (the International Ranger Federation, Universal Ranger Support Alliance and TGLF) to form critical communication and relationship bridges between the international Ranger Sector and global development organisations. Expect to learn how this is starting to open up new investment opportunities in nature-based solutions. Learn more: www.internationalrangers.org/events/

Today, Jean-Michel Basquiat is unquestionably one of the most recognizable and beloved artists on the planet. A native New Yorker of Haitian and Puerto Rican descent, Basquiat first attracted attention as a teenage graffiti writer in the late 1970s, before rapidly transitioning into the role of international sensation in the newly glamorous, increasingly global gallery world of the 1980s. Although the main draw was his inimitable artistic practice, which merged cryptic poetry and symbology with antic, Expressionistic figures, Basquiat quickly became a downtown celebrity of the first order, walking the runway, collaborating with musicians, and famously dating Madonna. Tragically, Basquiat died from an overdose at the age of 27. His short artistic career makes it all the more remarkable that his work and his visage seem to be everywhere in the 21st century. Of course, I'm not just talking about his actual paintings, which reliably sell for tens of millions of dollars at auction. Licensed reproductions of Basquiat's work now fuel a wide range of products and branding opportunities, from affordable t-shirts and keychains, to an unprecedented collaboration with the NBA's Brooklyn Nets resulting in a Basquiat-inspired home court design and team uniform. But as licensing has become a lucrative revenue stream for contemporary artists and estates, it has also intensified age-old criticisms about the corrosive powers of commercialization on creative integrity. The Basquiat estate's approach has made Jean-Michel's work one of the focal points of this tension, especially after the opening of “King Pleasure,” a major exhibition about the artist's life and work now on view in Manhattan. To sort through this tangled web, Artnet News art business editor Tim Schneider spoke to market guru Katya Kazakina about her look into Basquiat and the increasingly big business of artwork licensing.

Today, Jean-Michel Basquiat is unquestionably one of the most recognizable and beloved artists on the planet. A native New Yorker of Haitian and Puerto Rican descent, Basquiat first attracted attention as a teenage graffiti writer in the late 1970s, before rapidly transitioning into the role of international sensation in the newly glamorous, increasingly global gallery world of the 1980s. Although the main draw was his inimitable artistic practice, which merged cryptic poetry and symbology with antic, Expressionistic figures, Basquiat quickly became a downtown celebrity of the first order, walking the runway, collaborating with musicians, and famously dating Madonna. Tragically, Basquiat died from an overdose at the age of 27. His short artistic career makes it all the more remarkable that his work and his visage seem to be everywhere in the 21st century. Of course, I'm not just talking about his actual paintings, which reliably sell for tens of millions of dollars at auction. Licensed reproductions of Basquiat's work now fuel a wide range of products and branding opportunities, from affordable t-shirts and keychains, to an unprecedented collaboration with the NBA's Brooklyn Nets resulting in a Basquiat-inspired home court design and team uniform. But as licensing has become a lucrative revenue stream for contemporary artists and estates, it has also intensified age-old criticisms about the corrosive powers of commercialization on creative integrity. The Basquiat estate's approach has made Jean-Michel's work one of the focal points of this tension, especially after the opening of “King Pleasure,” a major exhibition about the artist's life and work now on view in Manhattan. To sort through this tangled web, Artnet News art business editor Tim Schneider spoke to market guru Katya Kazakina about her look into Basquiat and the increasingly big business of artwork licensing.

Wisconsin banks are sitting on a lot of liquidity right now, according to Tim Schneider, who leads the ag division at Nicolet Bank. Since banks have to put that money to work, they are ready to lend. When looking at risk, Schneider says the uncertainty between commodity markets and input costs does play a role. He says a well laid out business plan makes it easier for lenders. This means locking in milk prices and having protection on milk prices helps to secure funds. See omnystudio.com/listener for privacy information.

If you went back to 1997, you would find a sports-event industry that was truly in its infancy. The National Association of Sports Commissions, now known as Sports ETA, was only a few years old itself at the time. It was a few years prior to that when Tim Schneider started to identify something interesting in the other magazine that he published called Association News. Why were so many sports organizations reading a magazine about association management, he wondered? The answer was that they were on the hunt for destinations and venues to host their events, and no other publication seemed to have information about those available locations and venues. Like the true entrepreneur he is, Schneider decided to come up with a product to fix that. While the magazine took a few years to materialize, that innovative thinking eventually led to issue one of SportsTravel, published 25 years ago in January 1997. In the years since, the magazine has grown with new departments and features, and has successfully made the leap to the digital world as well. The industry it covers, of course, has also experienced incredible growth and evolution. Whereas a handful of destinations at the time dedicated themselves to sports marketing and offering their available venues for sports events, hundreds of destinations do that today, and do it well. And the number of events and event organizers has only grown in that time, too. Schneider guided the growth of the magazine and you could make the case that he helped guide the growth of the industry itself, leading to his being inducted into the very first class of the Sports ETA Hall of Fame in 2017. In this conversation, we talk with Schneider about how SportsTravel began, how it has evolved and what destinations and sports organizations should be focusing on now as they chart the next 25 years of the industry. See omnystudio.com/listener for privacy information.

Ask fans of crypto and NFTs why they think blockchain is such a revolutionary technology, and it probably won't be long before they mention large-scale data transparency, a concept near and dear to our own hearts here at Artnet. Since the blockchain permanently and publicly documents key information about every transaction it hosts, then people with the right know-how and technical resources could theoretically map the entire history of any given crypto platform or project. And the wild, wooly market for NFTs is no exception. That's where Laszlo Barabási comes in. Laszlo is the founder and leader of Barabási Lab, a team of artists and data scientists that study complex networks. Just a few weeks ago, he and his co-authors published a fascinating, data-rich analysis of the NFT platform Foundation. Launched in February 2021, Foundation has now hosted some of the most significant NFT sales to date, including the $5.4 million crypto art debut of era-defining whistleblower Edward Snowden. Based on Laszlo's study, our resident NFT sage, art business editor Tim Schneider, put together a data-driven guide on how to succeed as a crypto artist (which Artnet News Pro subscribers can read online now). For this episode, Tim spoke with Laszlo about the inner workings of Foundation, the synthesis of art and science, and much more. 

Ask fans of crypto and NFTs why they think blockchain is such a revolutionary technology, and it probably won't be long before they mention large-scale data transparency, a concept near and dear to our own hearts here at Artnet. Since the blockchain permanently and publicly documents key information about every transaction it hosts, then people with the right know-how and technical resources could theoretically map the entire history of any given crypto platform or project. And the wild, wooly market for NFTs is no exception. That's where Laszlo Barabási comes in. Laszlo is the founder and leader of Barabási Lab, a team of artists and data scientists that study complex networks. Just a few weeks ago, he and his co-authors published a fascinating, data-rich analysis of the NFT platform Foundation. Launched in February 2021, Foundation has now hosted some of the most significant NFT sales to date, including the $5.4 million crypto art debut of era-defining whistleblower Edward Snowden. Based on Laszlo's study, our resident NFT sage, art business editor Tim Schneider, put together a data-driven guide on how to succeed as a crypto artist (which Artnet News Pro subscribers can read online now). For this episode, Tim spoke with Laszlo about the inner workings of Foundation, the synthesis of art and science, and much more. 

Here we are, at the beginning of a new year, a time that, at least in the past, used to be full of hope and anticipation, but after the last two years requires a deep breath and a brace for impact. But, there are still many fascinating and encouraging developments underway all around us, and there's an awful lot to be grateful for. We're all grateful to work alongside an authentically magical human being, known to mere mortals as Tim Schneider, Artnet News's art business editor. As longtime listeners know, Tim undergoes a mystical transformation at the beginning of every new year to become a soothsayer capable of peering into the future to see what the months ahead hold for the art industry. Tim recently published his prognostications on Artnet News Pro, and this week he joins Andrew Goldstein to break out a few of the most pressing predictions he made, from Beeple's potential gallery representation to the future of art fairs amidst the ongoing pandemic.

Here we are, at the beginning of a new year, a time that, at least in the past, used to be full of hope and anticipation, but after the last two years requires a deep breath and a brace for impact. But, there are still many fascinating and encouraging developments underway all around us, and there's an awful lot to be grateful for. We're all grateful to work alongside an authentically magical human being, known to mere mortals as Tim Schneider, Artnet News's art business editor. As longtime listeners know, Tim undergoes a mystical transformation at the beginning of every new year to become a soothsayer capable of peering into the future to see what the months ahead hold for the art industry. Tim recently published his prognostications on Artnet News Pro, and this week he joins Andrew Goldstein to break out a few of the most pressing predictions he made, from Beeple's potential gallery representation to the future of art fairs amidst the ongoing pandemic.

We did it, 2021 is in the can. We are about to finally make the transition into what is hopefully going to be a great, exciting, and healthy 2022. Here at The Art Angle, we are very excited to celebrate this milestone and we also want to give everybody a little bit of a year end bonus. So here is an episode that we think is maybe going to be relevant for what's coming around the bend. Obviously it is about NFTs. NFTS were the big revelation of 2021 and everybody is kind of getting a little bit of an education about what they are, but there's no harm in getting a refresher course. So please enjoy an episode with Artnet News Art Business Editor, Tim Schneider, from earlier this year about NFTs, what they are and why they're important. 

We did it, 2021 is in the can. We are about to finally make the transition into what is hopefully going to be a great, exciting, and healthy 2022. Here at The Art Angle, we are very excited to celebrate this milestone and we also want to give everybody a little bit of a year end bonus. So here is an episode that we think is maybe going to be relevant for what's coming around the bend. Obviously it is about NFTs. NFTS were the big revelation of 2021 and everybody is kind of getting a little bit of an education about what they are, but there's no harm in getting a refresher course. So please enjoy an episode with Artnet News Art Business Editor, Tim Schneider, from earlier this year about NFTs, what they are and why they're important. 

In this episode, we talk with leadership expert and award-winning author, Tim Schenider, about ‘the great resignation' and its impact on the world of Applied Behavior Analysis (or ABA therapy) and other autism services.  Applied Behavior Analysis is the most commonly prescribed treatment for Autism Spectrum Disorder. ABA helps children with autism learn new skills - those might include communication skills, daily living skills, social skills, and many more. ABA is not a one size fits all treatment. Each program is specially designed to suit the needs of the individual child. Each child has a team of a single Behavior Analyst and often multiple Behavior Technicians that provide the day-to-day & one-on-one therapy.  The job of the behavior technician can be incredibly rewarding but it can also pose a lot of challenges. This is the position that we see has the highest turnover rate and is the most impacted by the ‘great resignation'. Each time a behavior technician leaves a child's case, the child faces the possibility of losing valuable weekly prescribed hours of their ABA therapy program.  So, what are ABA organizations doing? What can parents do if they find they are losing their Behavior Technicians? Download the podcast today to learn more!  Learn More about Aegis Learning Now! CLICK HERE . . . . . . . . . . . . . . . . . . . . . Autism weekly is now found on all of the major listening apps including apple podcasts, google podcasts, stitcher, Spotify, amazon music, and more. Subscribe to be notified when we post a new podcast. Autism weekly is produced by ABS Kids. ABS Kids is proud to provide diagnostic assessments and ABA therapy to children with developmental delays like Autism Spectrum Disorder. You can learn more about ABS and the Autism Weekly podcast by visiting abskids.com.

If you consider yourself a dedicated fan of contemporary art, then you're probably no stranger to watching things onscreen that the average person would find bizarre, upsetting, or even downright gruesome. So it should come as no surprise that the art world––and the Artnet News staff––contains more than a couple die-hard fans of horror movies, too. But what's more surprising than the contemporary art world having an interest in Hollywood horror flicks is that Hollywood horror flicks increasingly seem to have an interest in the contemporary art world.  Over the past few years, big-name studios and production companies have released multiple hair-raising feature films with––you guessed it––an art angle. And while each one of these movies has sunk its claws into different aspects of contemporary art, the fact that screenwriters and directors keep coming back to it for spooky material suggests that something larger is afoot in the broader culture's perception of the strange little cult we call the art world. In honor of Halloween, my Artnet News colleague and fellow horror aficionado Taylor Dafoe wrote a piece that offered up some ideas about why, exactly, contemporary art has haunted so many recent scary movies. Through the cursed app known as Zoom, Taylor joined Artnet News Art Business Editor,Tim Schneider, to talk about three recent films featured in that piece: Candyman, Velvet Buzzsaw, and Hereditary.  A couple haunted housekeeping items before we begin: If you haven't seen those movies but want to, be advised that there are spoilers scattered throughout the episode. And if you have some feedback or maybe a recommendation for a future episode, go ahead and email us at podcasts@artnet.com. That's p-o-d-c-a-s-t-s @ artnet dot com. OK, with all that out of the way: Lock your doors, turn out the lights, and follow Tim and Taylor into the dark... if you dare.

If you consider yourself a dedicated fan of contemporary art, then you're probably no stranger to watching things onscreen that the average person would find bizarre, upsetting, or even downright gruesome. So it should come as no surprise that the art world––and the Artnet News staff––contains more than a couple die-hard fans of horror movies, too. But what's more surprising than the contemporary art world having an interest in Hollywood horror flicks is that Hollywood horror flicks increasingly seem to have an interest in the contemporary art world.  Over the past few years, big-name studios and production companies have released multiple hair-raising feature films with––you guessed it––an art angle. And while each one of these movies has sunk its claws into different aspects of contemporary art, the fact that screenwriters and directors keep coming back to it for spooky material suggests that something larger is afoot in the broader culture's perception of the strange little cult we call the art world. In honor of Halloween, my Artnet News colleague and fellow horror aficionado Taylor Dafoe wrote a piece that offered up some ideas about why, exactly, contemporary art has haunted so many recent scary movies. Through the cursed app known as Zoom, Taylor joined Artnet News Art Business Editor,Tim Schneider, to talk about three recent films featured in that piece: Candyman, Velvet Buzzsaw, and Hereditary.  A couple haunted housekeeping items before we begin: If you haven't seen those movies but want to, be advised that there are spoilers scattered throughout the episode. And if you have some feedback or maybe a recommendation for a future episode, go ahead and email us at podcasts@artnet.com. That's p-o-d-c-a-s-t-s @ artnet dot com. OK, with all that out of the way: Lock your doors, turn out the lights, and follow Tim and Taylor into the dark... if you dare.

This week, we're hopping into a time machine and traveling to the not so distant future to answer this question, how will the technological tools being developed today shape the art world of tomorrow. It's a question we delve into in the fall 2021 edition of the Artnet Intelligence Report, which is out now.  The theme of the issue is the roaring 2020s and inside we introduce you to the collectors who are looking to shift the axes of power in the art world, the galleries that will serve as social hubs once we get back out and about, and as we'll discuss today, the tech that will transform the business. To get the lowdown on what tools will define the next decade of the trade we spoke with Artnet News, Art Business Editor, Tim Schneider, who wrote a feature on the subject for the report.  If you like, what you hear and want to read the full report, go to news.artnet.com/markets/the intelligence report. It's available exclusively to Arden news pro members. So if you aren't already a member, you can subscribe@newsdotartnet.com slash.

This week, we're hopping into a time machine and traveling to the not so distant future to answer this question, how will the technological tools being developed today shape the art world of tomorrow. It's a question we delve into in the fall 2021 edition of the Artnet Intelligence Report, which is out now.  The theme of the issue is the roaring 2020s and inside we introduce you to the collectors who are looking to shift the axes of power in the art world, the galleries that will serve as social hubs once we get back out and about, and as we'll discuss today, the tech that will transform the business. To get the lowdown on what tools will define the next decade of the trade we spoke with Artnet News, Art Business Editor, Tim Schneider, who wrote a feature on the subject for the report.  If you like, what you hear and want to read the full report, go to news.artnet.com/markets/the intelligence report. It's available exclusively to Arden news pro members. So if you aren't already a member, you can subscribe@newsdotartnet.com slash.

It's late August, and for the first time in two years, it looks like the fall art season could be jam-packed with major in-person art-market events––even if some of them don't normally happen at the same time as Starbucks is trying to coat the globe in pumpkin spice. But this summer, art-world trends and circumstances way beyond the industry's control have led to some of the most noteworthy market activity happening in two destinations we're not so used to seeing make headlines: Monaco and Accra, the capital of Ghana. What's so interesting about these two places is that, together, they form a kind of art-market yin-yang symbol: the areas where one of them is strong are the areas where the other is weak, and vice versa. So by pairing them up, we can see something close to the full spectrum of forces shaping the global art market today.  To help us on this expedition, Artnet News's Art Business Editor, Tim Schneider, is joined on the show by two great guests who recently reported on these destinations firsthand for Artnet News Pro. First up, Kate Brown, European editor at Artnet News, discusses her summer sojourn to Monaco. Then, Rebecca Anne Proctor, the seasoned, globe-trotting art journalist, talks about the art scene bubbling up in Accra.

It's late August, and for the first time in two years, it looks like the fall art season could be jam-packed with major in-person art-market events––even if some of them don't normally happen at the same time as Starbucks is trying to coat the globe in pumpkin spice. But this summer, art-world trends and circumstances way beyond the industry's control have led to some of the most noteworthy market activity happening in two destinations we're not so used to seeing make headlines: Monaco and Accra, the capital of Ghana. What's so interesting about these two places is that, together, they form a kind of art-market yin-yang symbol: the areas where one of them is strong are the areas where the other is weak, and vice versa. So by pairing them up, we can see something close to the full spectrum of forces shaping the global art market today.  To help us on this expedition, Artnet News's Art Business Editor, Tim Schneider, is joined on the show by two great guests who recently reported on these destinations firsthand for Artnet News Pro. First up, Kate Brown, European editor at Artnet News, discusses her summer sojourn to Monaco. Then, Rebecca Anne Proctor, the seasoned, globe-trotting art journalist, talks about the art scene bubbling up in Accra.

This episode is devoted to Hunter Biden. Why? If you read the news, click on any cable network or walk down the street. You've probably heard that everybody is in a tizzy about the son of the president of the United States art career and his overnight emergence as a seemingly unlikely market darling. So to talk about Hunter Biden's art practice; how he views it; how the industry is embracing; the static it's generating the political sphere and what it all means, we've pulled together a heavy hitting roster of Artnet News experts.  Senior Reporter, Katya Kazakina, Art Business Editor, Tim Schneider and Chief Art Critic, Ben Davis join the show.

This episode is devoted to Hunter Biden. Why? If you read the news, click on any cable network or walk down the street. You've probably heard that everybody is in a tizzy about the son of the president of the United States art career and his overnight emergence as a seemingly unlikely market darling. So to talk about Hunter Biden's art practice; how he views it; how the industry is embracing; the static it's generating the political sphere and what it all means, we've pulled together a heavy hitting roster of Artnet News experts.  Senior Reporter, Katya Kazakina, Art Business Editor, Tim Schneider and Chief Art Critic, Ben Davis join the show.

This week The Cultural Frontline is looking into the art world's latest phenomenon…NFTs or Non Fungible Tokens. And if you're wondering exactly what that means, join Sophia Smith Galer to find out more about this new form of digital art. NFTs hit the headlines this year when an NFT artwork by the American digital artist Beeple sold at auction for a record breaking $69.3 million. So what are NFTs and how do they work? NFTs use a lot of energy which is bad for the environment, but they can open up new possibilities for artists. Tim Schneider, Art Business Editor at Artnet News, explains the pros and cons. Despite million pound sales from the likes of Canadian singer Grimes and American celebrity socialite Paris Hilton, the majority of artists commanding high sales from NFT artworks are men. Scottish art collector and co-founder of international collective Women of Crypto Art Etta Tottie and Senegalese artist and member of Her Story DAO Linda Rebeiz explain how they're working to make the world of NFT art more diverse. Artists can sell NFTs via online platforms and they are attracting a new type of buyer: young, digitally savvy and familiar with crypto currency. Now the art world is getting involved with an exhibition of NFT art at UCCA Lab in Beijing and the launch of Institut, an “art world” platform to exhibit and sell NFTs. American writer, artist and NFT expert Kenny Schachter explains how the traditional art world feels about this digital disruption. NFTs have made headlines for big sales and celebrity connections but one creative couple in Indonesia is using an NFT to raise money for charity. In April 2021, the Indonesian navy submarine, KRI Nanggala 402, sank off the coast of Bali, killing all 53 crew members. Sound designer Ruanth Chrisley Thyssen and illustrator and influencer Cindy Thyssen have joined forces do something to mark the event with an artwork, 53 Never Forgotten. (Photo: NFT titled 'CryptoPunk 7523' by Larva Labs. Credit: Cindy Ord/Getty Images)

Tim Schneider, the chairman of the Sports Division at Northstar Meetings Group, is the founder of SportsTravel magazine, the TEAMS Conference and Expo and the EsportsTravel Summit. In this conversation with SportsTravel Editor and Publisher Jason Gewirtz, we talk with Schneider about the origins of SportsTravel and the sports-event industry itself, the growth of sectors such as esports and the role that sports-related travel will play in the nation’s economic recovery. It’s a wide ranging conversation that holds many lessons that still apply today for professionals who are involved in the organizing and hosting of sports events at all levels. See omnystudio.com/listener for privacy information.

Hast du Lust, Bussarde im Winter zu fotografieren? Tim Schneider berichtet über die Entstehung seiner Bilder. Weiterhin geht es ein bisschen um Kameras und Floating Hides. Für alle Tierfotografen also eine lohnende Folge. Schaut gerne mal bei Tims Bildern vorbei: https://www.instagram.com/__tim__schneider__ Das im Podcast erwähnte Buch "Wildlife Fotografie": https://amzn.to/3w5Nbb0

Previous widowed-guest co-host Tim Schneider returns and updates us. What life is like now—three and a half years since his spouse Donna died. How Covid-19 relieved Tim.  Introducing Ziggy and Georgia, the two naked ladies in the basement.  Tim gets set up on a blind date by an obvious Yenta—Tim's first date since Donna died. Listen to this head trash avalanche. Facebook stalker. Might you be one too? Hear the evidence. What to do when dating feels like work. What's in your eulogy?  And a whole lot more. Tim's prior guest host episode links. Click on highlighted text: Episode 3 Two Widowers Talk (1 of 3) Episode 4 Two Widowers Talk (2 of 3) Episode 5 Two Widowers Talk (3 of 3) Episode 25 Want to Feel Normal?  Bullets Three and a Half Years Since Two Naked Ladies in The Basement Covid Brings Relief First Date is Blind Head Trash Avalanche She Was Just Seventeen Four Kids before Thirty Facebook Stalker The Yenta Thanks for listening. Join us for part 2 of Three and a Half Years Since. Because you shouldn't have to journey alone, join me in the My Spouse Died Too community email list for members-only benefits: Behind-the-scenes commentary gives you deeper insight--helps you heal. Episode alerts so you'll know when a new episode is ready. Updates on past podcast guests because their journeys continue too. Plus more thoughts, resources, and random widowed journey stuff I discover. And it's the best way to contact me. Because you shouldn't have to journey alone. Sign-up now at https://www.myspousediedtoo.com. Hope. Heal. Find love again. ~ Emeric My Spouse Died Too podcast, images, logos, artwork copyright © 2019-2021 by Emeric McCleary. Music and lyrics © 2019-2021 by Emeric McCleary and Elena McCleary

As we all now know, NFTs are the talk of the art world these days—they're everywhere. It's gotten to the point where you can't have a simple conversation with someone without them bringing up NFTs, or trying to turn the conversation in that direction. Due to an unusually hectic few weeks on the work and home fronts, our illustrious host, Andrew Goldstein, has been hunkered down at home with his wife as they prepare to welcome their first baby to the world, and has managed to drown out the oceanic wave of NFT news, and came into this week's episode cold. Fortunately, here at Artnet News, we are blessed with an able Virgil to guide our dimwitted Dante through the purgatory of NFTs in the form of art business editor Tim Schneider, who has become something of an expert on the subject. Tim will help break down what exactly an NFT is, why we should care, and what it could mean for the future of the art market.

No one could have foreseen the giant boomerang of a year that was 2020. With its trifecta of health, financial, and social crises, it could not have been predicted by even the most studied of sages. No, not even Artnet News's resident forecaster, art business editor Tim Schneider. But that didn't stop Tim from embarking on his annual tradition, formulating highly specific predictions for the art market in the coming 365 days. In the early days of 2021—before the angry mob of protestors stormed the Capitol, inciting a riot and leading to the historic second impeachment of President Trump; before we knew Kim and Kanye were heading toward divorce—Tim peered into his crystal ball to make some informed prognostications about the art market. On this week's episode, Tim joins Andrew Goldstein to discuss everything from museum deaccessioning to the biggest changes in store for galleries.

The news cycle for the past seven months has been dominated by staggering data points that seek to quantify the scope of the pandemic's effects on the United States and beyond. Within the art world, statistics detailing layoffs and furloughs, museums facing imminent closure, and galleries struggling to make ends meet add to the collective fear and anxiety gripping the world at large. But there have also been bright spots in both the broad economy, and, surprisingly, within the art market itself. A new study commissioned by the Independent art fair and Crozier Fine Arts, carried out by data guru Clare McAndrew lays out one aspect that is not just surviving amid the turmoil—it's actually thriving. For the inaugural NYC Art World Report, an analysis of dozens of private art collectors living in New York shared insights about their buying practices, interests, and disdains within the new, largely virtual art ecosystem. On this week's episode, Elizabeth Dee, veteran gallerist and founder of Independent, joins the podcast to put the report into context, and shares her thoughts on its conclusion: that New York City remains the epicenter for committed art collectors, and will continue to reign supreme across the international landscape. As a coda to Elizabeth's observations, Artnet News's business editor Tim Schneider provides a layman's analysis of the data within the report, and helps make sense of what to do with this new wealth of information.

To start of Season 3 with a bang we talk with Heather Bhandari - author of Art Work: Everything You Need To Know To Pursue Your Art Career*, an adjunct lecturer at Brown, a trained artist, worked at galleries, consulted for non-profits and now is Program Director at Art World Conference. Does that feel like too many things for one person to do? We agreed, but we got the low down and she IS WHO SHE SAYS SHE IS! Her wealth of experience is only matched by her willingness to share her knowledge and it is all incredibly generous. We ask the woman who WROTE THE BOOK - what do you need to know? - and she ANSWERED and it's incredible! Tune in to hear her recommendations, her advice, share her experience and GROW! *Erika LOVES this book! Used it in her fancy PhD thesis! Do not forget that Erika is a Dr. ok?! HEATHER REFERENCES: Laundromat Projects - Asset Mapping Making and Being by Caroline Woolard and Susan Jahoda Sunlight Tax - Hannah Cole Art World Learning - JUST LAUNCHED! HEATHER IS READING/WATCHING Ghost Patrol Book Series (for parents with kids K-2) Hyperallergic - and listen to our pod with Hrag Vartanian Founder of Hyperallergic Artnet - and listen to our episode with Tim Schneider, Art Business Editor of Artnet Netflix: Queens Gambit LOCATE YOUR HOSTS UPON THE INTERNET Heather Bhandari - artworldconference.com, artworldlearning.com Alexis Hyde - @hydeordie, alexishyde.com Dr. Erika Wong; - @topractisepractice, www.topractisepractice.com Slack channel: topractiseapractice.slack.com Email us: hydeorpractise@gmail.com Music by Cheap TV - @cheaptv_official, https://cheaptvmusic.com/art world conference --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

To call the mood of this past spring in the New York art world "apocalyptic" would hardly be an exaggeration. Although it was on March 22 that the rapid spread of COVID-19 pushed governor Andrew Cuomo to order the closure of all non-essential businesses in New York state, the renowned museums and galleries that make New York City the beating heart of the US art world had already started voluntarily shutting down almost two weeks earlier out of concern for public safety. As spring unfolded, furloughs and layoffs devastated the for-profit and nonprofit sides of the arts workforce alike; dealers started frantically pivoting to online viewing rooms to try to coax sales from collectors forbidden by law to enter their bricks-and-mortar galleries; and a major survey estimated that up to one-third of American museums might never re-emerge from the lockdown. Yet by late June in New York, the pandemic had receded far enough that galleries were permitted to begin reopening their long-closed doors to the public if they felt ready. Governor Cuomo then signaled that the state's museums could resume operating in late August. By Labor Day weekend, a steady stream of art-starved visitors had completed the careful reanimation of the New York art world—an outcome that seemed almost unthinkable six months earlier. So, how exactly did NYC's museums and galleries contend with a half-year of lockdown? What have they changed to accommodate the realities of the new normal? And what is the forecast for the future? On this week's episode, Artnet News's Eileen Kinsella and Tim Schneider join Andrew Goldstein to offer their insights.

Earlier this summer, rumors emerged that a member of the Murdoch media dynasty—most (in)famous for building the far-right Fox News—may be sniffing around a major investment in the MCH Group, the financially beleaguered parent company of mega-fair Art Basel. Initial fears that the interested party was ultra-conservative family patriarch Rupert Murdoch soon gave way to official news that it was instead his son James, a billionaire in his own right who has been referred to as "the smart one in the clan." The media scion's interest represented a lifeline for the MCH Group, which had been battered by an extended run of strategic miscues even before this year's global shutdown forced it to begin canceling or postponing its lavish slate of international gatherings. But the prospect of an alliance raised a whole other set of questions: Who exactly is James Murdoch? How similar is he to his climate-change-denying, Trump-supporting father? And why on earth would he want to pump roughly $80 million of his fortune into a Swiss company best known for producing trade fairs for expensive artworks and watches? On this week's episode of the Art Angle, Artnet News art business editor Tim Schneider joins Andrew Goldstein to dissect the MCH Group's rocky last three years, the controversial career arc of Murdoch the younger, and how his influence as the new "anchor shareholder" could reshape the future of Art Basel.

Welcome to Episode 8! Erika and Alexis can't believe it's been 2 months! They discuss how easy it is to look at other people's careers and practice journeys and think that it is smooth sailing. It is NOT! They both share failures and hurdles they have faced and invite past guests to share their trials and tribulations as well! We get to hear again from London based artist and educator Natasha Caruana, ArtNet/Gray Market's Tim Schnieder and Young Space's Kate Mothes about their struggles as well! LOCATE YOUR HOSTS UPON THE INTERNET Natasha Caruana - @natashacaruana @workshowgrow, natashacaruana.com Tim Schneider - twitter: the_gray_market, insta: @the_graymarket Kate Mothes of @yngspc Alexis Hyde - @hydeordie, alexishyde.com Dr. Erika Wong; - @topractiseapractice, www.practise-practice.com Slack channel: topractiseapractice.slack.com Email us: hydeorpractise@gmail.com Music by Cheap TV - @cheaptv_official, https://cheaptvmusic.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

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Welcome to Episode 3 Part 1! Erika and Alexis discuss etiquette, why it's important, how to engage with it, and how it can help you with your long term success. Also up for discussion is why etiquette is especially vital now during these times of transitions and how you can use that to your advantage! Then stay tuned for Part 2 where we talk to Tim Schneider, Art Business Editor of the Art Net! LOCATE YOUR HOSTS UPON THE INTERNET Alexis Hyde - @hydeordie, alexishyde.com Dr. Erika Wong; - @topractiseapractice, www.practise-practice.com Slack channel: topractiseapractice.slack.com Email us: hydeorpractise@gmail.com Music by Cheap TV - @cheaptv_official, https://cheaptvmusic.com/

Welcome to Episode 3 Part 2! Erika and Alexis chat with Tim Schneider, Art Business Editor of the Art Net! Alexis promised it wouldn't be longer than 20 minutes of his time but she lied! It's longer and it's FULL OF GOODIES! We talk about class signaling and online platforms and social transitions and if/when we open up again and what all of this MEANS! Do we find an answer for all of it? Only one way to find out and that is to TUNE IN! LOCATE YOUR HOSTS AND GUEST UPON THE INTERNET Tim Schneider - twitter: the_gray_market, insta: @the_graymarket, http://www.thegray-market.com AND https://news.artnet.com/about/tim-schneider-641 Alexis Hyde - @hydeordie, alexishyde.com Dr. Erika Wong; - @topractiseapractice, www.practise-practice.com Slack channel: topractiseapractice.slack.com Email us: hydeorpractise@gmail.com Music by Cheap TV - @cheaptv_official, https://cheaptvmusic.com/

In the past month, the world—and by extension, the art world—has changed so drastically that it is almost unrecognizable. While the novel 2019 coronavirus continues to threaten countries around the globe and industries of all types, major and minor art institutions alike have shuttered until further notice, hundreds of galleries have temporarily closed their doors, and both artists and art lovers have been left to wonder how to respond in the social-distancing era. Like so many other staffers worldwide, the Art Angle team is now working remotely, harnessing the power of technology to bring you a comprehensive analysis of a cultural sphere beaten back by COVID-19—but not defeated. The enormity of the changes in progress demanded that Artnet News assemble an all-star cast to address how the pandemic is affecting the places we go to see art, the ways we buy art, and the nature of art itself. First, Artnet News executive editor Julia Halperin weighs in on how all museums, from New York's Metropolitan Museum of Art to small regional nonprofits, are dealing with a sudden loss of income and an uncertain future as public gathering places. Then, art business editor Tim Schneider discusses the state of the gallery system and how digital platforms could help nimble dealers reckon with the temporary end of the social art-buying experience. Finally, art critic Ben Davis shares his thoughts on how art can play a role in community-building during and after a period of widespread trauma.

Whether you ascribe to the centuries-old Georgian Calendar or slept through the clock striking midnight, ushering in a new year is often a time for reflection on what's past, and what is to come. Here at Artnet News, resident business editor and part-time soothsayer Tim Schneider embraces his mystical powers to peer into the future and offer a slew of highly specific predictions for the art world. In this episode, Tim distills some of the broadest issues facing the art world using trend analysis to make concrete statements for 2020, which can (and will) be objectively reviewed as having been right or wrong in 12 months' time. In the days before the calendar page turned to 2020, Tim expounded on seven distinct predictions for the industry, and Andrew Goldstein grilled him about four of the most contentious points, including such thorny issues as ethical decision-making in museums, blue-chip galleries reducing their carbon footprint, the red-hot market for young artists, and whether Instagram will actually change the policies on nudity that have artists up in arms over censorship

Normally, the week following Art Basel in June sees the art market begin its downshift into the summer doldrums. But this year, on what nearly everyone expected to be a quiet Monday, the usual cycle was disrupted by a breaking-news earthquake: Sotheby's, the world's oldest auction house, had struck a deal in principle to be acquired for $3.7 billion by a mysterious telecom magnate named Patrick Drahi. Even more jarring than Drahi's status as a largely unknown quantity in the art world was the announcement that he planned to return Sotheby's, which had been publicly traded on the New York Stock Exchange for the previous 31 years, to private control. News of the deal triggered an avalanche of questions among art-world observers: Who exactly was Drahi, as a man, an entrepreneur, and a patron of the arts? What did his entrance portend for CEO Tad Smith and the rest of the house's existing leadership structure? What would it mean for the market to lose access to the detailed financial information that Sotheby's was required to regularly disclose to the public by Uncle Sam? And what were the larger implications for the art industry overall? Roughly five months later, Drahi's acquisition of Sotheby's is official, and an elite group of his trusted confidantes can now be found in the house's C-suite. But with so many big changes still so fresh—and with so many questions still left to be answered—Artnet News art business editor Tim Schneider came on the Art Angle to make sense of this seismic event in auction history.

Chauncey is joined by Captain Tony, the winners of the IHSA Sectional Winners, Tim Schneider and Tim Darrey.

Illinois GOP Chairman and Cook County Commissioner for the 11th district Tim Schneider joined Dan and Amy with reaction to the County Commissions vote on the sweetened beverage tax. CNN Senior Economist Stephen Moore has been working to educate people on the north shore on economics. He joined Dan and Amy to talk about his efforts and the efforts in Congress to pass tax reform. Plus, HotAir.com Senior Editor Ed Morrissey joined Dan and Amy with reaction to NFL Commissioner Roger Goodell's decision to require players to stand for the National Anthem before games.See omnystudio.com/listener for privacy information.

Der Kontakt zu den Locals ist normalerweise eine der interessantesten Erfahrungen auf Reisen. Ganz anders ist das in Nordkorea - dort bekommst du als Reisender keinen Kontakt zu den Einwohnern, sondern darfst nur mit deinem Tourguide sprechen. Nordkorea gehört sicherlich zu den ungewöhnlichsten Reisezielen. Die Reise ist nur mit einer Agentur möglich und statt sich frei zu bewegen, darf man nur vollkommen überwachte Schritte machen. Mein Podcast Gast Tim war dort und berichtet von seinen Erfahrungen. Wie er auf diese Idee gekommen ist ausgerechnet nach Nordkorea zu reisen, wieso er vorher sogar koreanisch lernen musste und wie er das Land im Vergleich zu China oder Vietnam erlebt hat, berichtet er im Podcast. Bitte hinterlasse eine Rezension des Off The Path Podcasts aus iTunes oder unterstütze uns auf Patreon. Bewertungen auf iTunes sind super hilfreich für das Ranking der Show und sind für uns die beste Bezahlung für die ganze Arbeit, die in die Show investiert wird. :)