The Round Up: Lowry Leaves MoMA, the Artists All Over Museums, a Long Lost Gentileschi

Re-Air from August 15,2024 There’s so much culture now that it can be hard just to keep up, let alone to think about it all as a whole… but that only makes the effort to find perspective more important. It’s not always clear when you’re in the thick of it, but almost certainly when people in the future look back, they will see more clearly than we do the common concerns beneath the fragmented surface of the culture of the 2020s. The literary scholar Anna Kornbluh has an idea about all this. She argues that what characterizes the art of the now might be, in fact a particular hunger for now-ness. Her book published this year by Verso is called “Immediacy or the Style of Too Late Capitalism.” Across a broad array of culture, both high and low, Kornbluh tracks, as she writes, “immediacy as a master category for making sense of 21st century cultural production.” She shows how the drive towards immediacy can help explain a vast array of developments and asks why. It’s a thin but challenging book. Immediacy was Ben Davis’s pick for our summer reading list, and we’re not the only ones who has found it useful. In the magazine Art Review, author Alex Niven wrote that Kornbluh has done better than almost anyone in recent memory to define the elusive claustrophobic spirit of the age. It’s heady terrain to explore, and this week on the podcast, Kornbluh joins Ben Davis to guide us through it.

We are back this week with our monthly edition of the Art Angle Roundup, where co-hosts Kate Brown and Ben Davis are joined by a guest to parse some of the biggest headlines of the month. This week, Naomi Rea, newly appointed editor in chief of Artnet News joins the show. Kate and Naomi just returned from reporting on the ground at Art Basel Paris, which came just one week after Frieze London and Frieze Masters, where a clearer picture of the art market was taking shape. Before we get to that, speaking of London, there was big news that activists were sentenced to prison time for the souping of a very famous Vincent Van Gogh painting. The trio discusses what the implications of this punishment are for the activists using soup-throwing and other tactics to get their message across, and if it's working at all. Next, we dive into the state of the art market, which has been the subject of many think pieces, often providing contradictory views. Finally, we dig into the man of many controversies: Elon Musk. He has been the subject of multiple accusations of alleged plagiarism in the past couple of weeks. First, Alex Proyas, who directed the 2004 adaptation of the short story I, Robot, called out Musk's Tesla on social media, writing simply: “Hey Elon, can I have my designs back please?” and shared a side-by-side image of his work on the film next to those of newly-released prototypes of Optimus, Cybercab, and Robovan at a long-awaited October 10 event intended to showcase Tesla’s future products to investors. Just days later, the producers of Blade Runner 2049 filed a lawsuit suing Tesla for using imagery from that film without permission. In fact, Alcon Entertainment denied a request from Tesla and Warner Bros Discovery to use images from its film, and then Musk went ahead and used A.I.-generated references anyway. Alcon Entertainment called it “a bad-faith and intentionally malicious gambit.”

Contemporary art comes in many shapes and forms, but close your eyes and think of what an artist looks like and nine times out of 10, I bet you are still thinking of a painter in front of a canvas. If recent interest for museums and galleries is any indication, however, that image should be joined by another one: the fiber artist. Think of a weaver seated at the loom or a quilt-maker laboriously stitching together layers of fabric. The textile arts have experienced a quiet but steady groundswell of interest in the last decades, and recently I've noticed that it feels as if it is kicked into a new, even higher level, from the many kinds of textile based art throughout the most recent Venice Biennale to the major show "Woven Histories: Textiles and Modern Abstraction," which is on a tour of some of North America's most important museums right now. As many textile scholars will tell you, tapestry was once as exalted as painting as an art form, and it may be so again. This surge of interest is bringing new audiences, new histories, and new vocabularies into the center of the action that are worth getting familiar with, and to unravel all the different threads, I turned to Elissa Author, a scholar who looked at the tangled history of fiber art in her book String Felt, Thread: The Hierarchy of Art and Craft in American Art.  More importantly, she's been closely observing and encouraging the contemporary boom in textile art as the chief curator at the Museum of Arts and Design in New York. This week she joins me on the podcast to discuss what's behind the resurgence of interest in this medium. —Ben Davis Fiber Art Is (Still) Having a Moment Artists working in fiber and textile are increasingly visible at art fairs, museums and galleries, and there's no sign of a slowdown.

Few creative works ever managed to get the weird pathologies and unique characters of the art world quite right. But journalist and author Hari Kunzru's newest novel Blue Ruin is definitely one of those works. Set in the early stages of the pandemic, Kunzru's novel looks at how wealth and privilege function and fester in the art world. It's  an astonishing and incisive exploration of the power dynamics and value creation in art by an author who has been keenly observing the art world's odd rituals for decades. Blue Ruin moves between lockdown in upstate New York where some art professionals are hiding out on a very nice property, and then moves back in time to the optimistic art scene of the 1990s in London. Between these places, we follow Jay, a British artist who makes a grand gesture of quitting art in his twenties, only to find himself ramped back into the art world and the people who haunted it, all of which he had tried to leave behind. Originally from Britain and based in New York. Kunzru is the author of seven novels, including White Tears and Red Pill. Blue Ruin is the third of this trilogy.  He's also a regular contributor to the New York Review of books in the New York Times and writes a column for Harpers. Kunzru also teaches in the creative writing program at New York University and is the host of the podcast Into the Zone.

Over the past 200 years, a museum in New York has quietly grown to become one of the city's most esteemed cultural institutions. You might think I'm talking about the Metropolitan Museum of Art or the MoMA, but no, it's the Brooklyn Museum. Founded in 1823 as a community library which later merged with the Brooklyn Institute, the Brooklyn Museum is now firmly fixed on the city's cultural landscape. Its James Polshek-designed glass facade is immediately recognizable. It comes backed by a collection spanning historical artifacts and contemporary art, and it remains dedicated to reflecting the diversity of the borough it calls home. Recently, the museum has grabbed headlines for high-profile shows from "Giants," a very starry showcase of Alicia Keys and Swizz Beatz's collection, to "It's Pablo-matic," the Picasso retrospective curated by comedian Hannah Gadsby, which caught a lot, a lot of heat. But behind those headlines, the museum has been programming for its community. It has staged crowd-curated exhibitions, hosted pop-up markets, and served as a polling station. Its Spike Lee exhibition last year was accompanied by events including ASL and stroller tours intended to engage the community with a filmmaker who was also born and bred in the borough. For almost a decade, the Brooklyn Museum has been led by director Anne Pasternak. She has sought to balance the needs of its audience as well as the evolving role of a cultural institution. It's a position that's been rewarding as much as it has been challenging. Ahead of the museum's 200th anniversary, I caught up with Anne, who shared more about the opportunities and headwinds facing the Brooklyn Museum today and what it means to lead the institution into its third century.

The filmmaker, artist, and writer Miranda July has worked across such a variety of media over the years, one might say it is almost hard to categorize her work. But there is actually a strong through line that emerges when you consider July's vast oeuvre: an interest in how the remarkable may occur in small everyday moments and interactions—an interest in loneliness, sexuality, and death, and needing each other in our capacity to change and love—all these aspects that really make us human. With this, July has built a diverse and awe-inspiring body of work. It includes a messaging app she developed called Somebody and an interfaith secondhand shop. Her art has been on view with the Venice Biennale, and she's also made three feature length films, two of which she starred in. She's published four books and a participatory website called Learning to Love You More that she created with American artist Harold Fletcher that consists of assignments for the general public who make the art. There are instructions like "make a portrait of your friend's desires," or "perform the phone call someone else wishes they could have." One of these assignments is part of her first solo exhibition, a major retrospective on view at Fondazione Prada in Milan until the end of October. It is "Assignment 43: Make an exhibition of the art in your parents' house," and it was completed by a local woman from Milan. It is one piece among many in a show that spans 30 years of July's practice. There is also a new participatory video series in the mix called F.A.M.I.L.Y (Falling Apart Meanwhile I Love You). Her newest novel, All Fours was published in May this year. A New York Times bestseller and long list finalist for the National Book Award, All Fours is an astonishingly candid look at sexuality and transformation, but also at an extremely underrepresented topic in literature: menopause and female aging. When I connected with July, she was in her home, which is also her studio in Los Angeles, a small painting by Louise Bonnet hung just behind her. It's called Miranda, and it's a contemplative portrait of a female figure in what looks like a state of metamorphosis. It suits July's universe quite poetically.

It is time once again for our Round Up episode for the month of September, where we talk about some of the most interesting and timely art news stories of the last month with our writers here at Artnet. This month, Art Angle co-hosts Ben Davis and Kate Brown are joined by senior writer Sarah Cascone, and the three stories they discuss all center around museums. The first is the announcement that longtime director of New York's Museum of Modern Art Glenn Lowry will retire after 30 years, which marks the end of an era, and perhaps the beginning of something new. Artnet's Katya Kazakina wrote an article speculating on who might replace Lowry, and the panel discusses what this means for the future of one of the world's most famous museums. There's been a lot of leadership around New York museums, with the news of Alex Rüger taking over the role of director at the Frick Collection from Ian Wardropper, who is stepping down in 2025; plus the departure of Klaudio Rodriguez from the Bronx Museum, which has seen three directors in just seven years. Next up, the trio takes a deep dive into an article penned by Ben Davis that shares the result of an analysis he did looking at the shows on view at over 200 museums across the United States to see which artists are cropping up most frequently. The results were surprising, and give us all a window into the cultural zeitgeist. Finally, we talk about the news of a rediscovered painting by beloved Baroque artist Artemisia Gentileschi that is going on view in Texas, based on a story written by Sarah Cascone.

At the start of September, a massive chunk of the international art world descended on South Korea for a bounty of high-profile art offerings. The marquee event was Frieze Seoul, in its third edition, at the Coex convention center in the luxe Gangnam district, running alongside the long-established Korea International Art Fair. But they represented just one element of the action. All over Seoul, museums and galleries were opening big shows, angling for attention. Samsung’s Leeum museum hosted an Anicka Yi blowout and a superb show of young artists curated by Rirkrit Tiravanija. The beauty giant Amorepacific welcomed Elmgreen & Dragset at a museum in the basement of its David Chipperfield–designed headquarters, while Gagosian set up shop with a Derrick Adams exhibition on the ground floor. Up above, local heavyweights came out swinging—PKM with Yoo Youngkuk, Pace with the potent pairing of Lee Ufan and Mark Rothko, and Jason Haam with Urs Fischer. Celebrities were everywhere. Parties were everywhere. No one seemed to be sleeping. Everyone was on the move. And the festivities were not confined to Seoul. The esteemed Gwangju Biennale inaugurated its 15th edition in that southern city the day after the fairs opened, a sharp, tough show curated by the Frenchman Nicolas Borriaud that ran alongside more than 30 national pavilions. And along the country’s southern coast, the latest Busan Biennale also drew crowds, with more than 60 artists selected by its curators, Vera Mey and Philippe Pirotte. There was so much happening that it was impossible to see it all—even with a dedicated driver—which many VIPs had—and even if you were willing to forgo moments of rest. This week, Artnet Pro editor Andrew Russeth is joined by London-based reporter and co-author of the Asia Pivot newsletter Vivienne Chow to discuss the art, the food, and everything in between.

If you've been keeping an eye on the art market, you know that the industry has been going through some turbulent times... there's really no other way to say it: It's been a tough year, as the frothy post-pandemic surge in the art business has fully retreated.  Amid this market slowdown comes our latest data-packed and information-rich issue of the Mid-Year Intelligence Report, which is appropriately titled The Art Market Reset: Riding the Waves of Change. This Fall issue looks at the numbers behind the mood, and it is packed with relevant insights that will help buyers, sellers, and spectators make informed decisions in the months ahead.  Katya Kazakina, Artnet's award-winning columnist who pens a weekly art market column called The Art Detective is joining Art Angle co-host Kate Brown on the podcast this week to discuss her must read cover story for the new Intelligence Report. In it, she investigates what led to the sharp drop in the demand for art, as well as resale values for once coveted pieces. They discuss how the data reveals a market in free fall, where galleries have been faced with cost-cutting measures, or are shuttering altogether. There are some silver linings in her story, as Katya examines the smart responses that are being made across the industry, revealing how sales tactics are evolving and why some people actually believe that a slowdown in art production is not a bad thing altogether. Before we get to that, a few more words about the rest of the report.  Our illuminating By the Numbers section details how, as compared with last year, there has been a substantial drop in money being spent on Ultra Contemporary art, a downturn in the sales generated by the big three auction houses (Sotheby's, Christie's, and Phillips), fewer artworks selling publicly for over $10 million, and the average price of art at auction is also going down. You can find specific breakdowns in the actual report.  What does it all mean though? News editor Margaret Carrigan, gives a spin-free analysis of the auction stats. Also in this issue, our Editor in Chief Naomi Rea, spoke with Art Basel Paris Fair Director Clément Delépine about what to expect at the revamped art fair, which is moving back into the Grand Palais next month.  Our market reporter, Eileen Kinsella, spoke to Sotheby's Phyllis Kao about how the secondary market is adjusting its working processes amid the flux, and our marketplace section brings you the stories behind the top selling works, and the scoop on artists whose markets are on the rise. Even amid this slump, Artnet's esteemed reporters and editors have worked hard and put together an excellent issue that will help you navigate the current art market season, where the road ahead feels anything but clear.

Thurston Moore is one of the most famous names in rock. With Kim Gordon and Lee Ronaldo, he formed Sonic Youth, one of the definitive art rock bands... yes, ART rock. Sonic Youth album covers famously spotlighted artists, from Gerhard Richter’s candle on the cover of 1988’s Daydream Nation to Raymond Pettibon’s cartoon couple on the cover of 1990’s Goo to Mike Kelley’s stuffed animal on the cover of 1992’s Dirty to Marnie Weber’s collage for 1998’s A Thousand Leaves. Well, now Moore is back, putting out a new dreamy solo album titled Flow Critical Lucidity, and true to form, the cover is another literal work of art: a photo of a sculpture of what appears to be metal helmet, studded with tuning forks. This is a work called Samurai Walkman, by the artist Jamie Nares. Nares is a figure of major cachet herself. She only just had a film retrospective at the Museum of Modern Art here in New York in the summer. Back in 2020, her fantastic 2011 video Street was the first film to be projected on the exterior of the Metropolitan Museum of Art—Thurston Moore, in fact, did the soundtrack to that film. Nares and Moore have a fruitful history of collaboration together, having both come up in the chaotic, experimental No Wave scene of the 1970s, and this week they join Ben Davis on the podcast to discuss. We're also thrilled to announce the launch of Art Market Minute, our new micro-podcast, hosted by news editor Margaret Carrigan. It offers a weekly snapshot of essential art market news, expertly compiled by the Artnet PRO editorial team. You can find it wherever you get your podcasts every Monday.