Manga Mania Gets Its Big Museum Moment

Manga is surely one of the most beloved and influential types of culture in the world. And while there’s long been a thriving international fandom around Japanese graphic novels, in the last 5 years in particular, there’s been a huge surge of popular interest, with manga impossible to miss in book shops and comic stores—and now in museums too. The big exhibition “Art of Manga” at the De Young Museum in San Francisco is proving to be a real event. As the title suggests, the show looks at manga not just as a cultural phenomenon but as visual art, digging into the history of the medium and celebrating its dynamic graphic and storytelling style. Specifically, “Art of Manga” focuses on 10 Japanese creators, selected to show the breadth of what manga has meant, and can be. They are: Akatsuka Fujio, Araki Hirohiko, Chiba Tetsuya, Oda Eiichiro, Tagame Gengoroh, Takahashi Rumiko, Taniguchi Jiro, Yamashita Kazumi, Yamazaki Mari, Tanaami Keiichi, and Yoshinaga Fumi. What is the connection of manga to Japanese art history? What does a museum have to add to the story of manga? And what can the popularity of manga, in turn, teach museums? The show’s curator, Nicole Coolidge Rousmaniere, agreed to talk to us about all of this.

Art World Infamy is a special series from the team behind The Art Angle, investigating the scandals and schemes that have rocked the art world. In the first chapter, told over four episodes, senior market reporter Eileen Kinsella unravels the rise and fall of dealer Inigo Philbrick.   After a bombshell $13 million lawsuit from angry collectors, Inigo Philbrick vanished. What followed was a cascade of international claims from clients who had entrusted him with millions, drawn in by his supposed Midas touch in the art market. From art fairs to gallery openings to gala dinners, the question on everyone’s lips was the same: Where’s Inigo? In this third episode, we examine the fallout from Philbrick’s fraudulent deals, and the frenzy that erupted in the art world after his sudden disappearance.

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

Art World Infamy is a special series from the team behind The Art Angle, investigating the scandals and schemes that have rocked the art world. In the first chapter, told over four episodes, senior market reporter Eileen Kinsella unravels the rise and fall of dealer Inigo Philbrick.   Long before headlines exposed his $86 million fraud, Inigo Philbrick was just another ambitious intern at one of the most powerful galleries in the world. Then a student at Goldsmiths College, Philbrick caught the attention of legendary dealer Jay Jopling and landed a coveted internship at White Cube—the gallery that defined 1990s London, and launched the YBAs (Young British Artists) including Damien Hirst and Tracey Emin. In this second episode, we explore how Philbrick so quickly ingratiated himself into the upper echelons of the art world that, within just a few years, he was running his own eponymous gallery. With hindsight, were there early warning signs of what was to come that the art world failed to see?

Art World Infamy is a special series from the team behind The Art Angle, investigating the scandals and schemes that have rocked the art world. In the first chapter, told over four episodes, senior market reporter Eileen Kinsella unravels the rise and fall of dealer Inigo Philbrick. What happens when you mix staggering sums of money with opaque financial deals in the high-stakes world of art? Welcome to Art World Infamy, a new podcast mini-series about the scandals and larger-than-life figures that have gained industry notoriety. We begin with a four-part investigation into how Inigo Philbrick climbed to the top of the art world—and how it all unraveled. Once hailed as a wunderkind dealer, Philbrick leveraged personal connections and the soaring contemporary art market to build what looked like an unstoppable career. But his fortunes hinged on deception, and once uncovered, the losses were staggering. In this opening episode, we’ll trace the convoluted deals that propelled Philbrick to the top, and would eventually lead to a spectacular collapse that left collectors and investors out of tens of millions of dollars.

It’s September, and the art world is back to business. In this month’s episode of the Art Angle Round-Up, we’re diving into the stories making headlines from Buenos Aires to New York—and even into the fantastical worlds of ⁠Frank Frazetta⁠. We start with a remarkable development out of ⁠Argentina, where a couple has been charged with concealing looted art⁠. Then, we turn to the gallery scene, where art superstar ⁠Jeff Koons is once again on the move, returning to Gagosian⁠ after ditching Pace. And finally, we celebrate a record-breaking sale in the fantasy art market: ⁠Frazetta’s iconic Conan the Barbarian painting⁠ Man Ape fetched $13.5 million, more than doubling his previous auction record. Joining Kate Brown to unpack these stories is co-host Ben Davis, along with returning art market expert Eileen Kinsella.

We’re thrilled to be able to say that the latest edition of Artnet's Intelligence Report: The Mid-Year Report 2025, has been published. It's free for all—head to Artnet News to download it as a handsome PDF. Within its covers, you'll find a bounty of information on the auction world and the art industry, which artists have been having a great year, how various countries' markets are performing, and a great deal more. Surprises abound from the Old Masters to the ultra-contemporary. You'll also find interviews with power players from the field, like the Guggenheim Museum's chief, Mariët Westermann, and the widely admired, now retired art dealer, Jack Hanley. And then there is the cover story by our ace columnist, Katya Kazakina. It's titled The Storm Hits the Art Market: Who's Getting Swept Away? It looks at recent upheavals in the art industry with galleries closing left and right, and everyone spent their summer thinking about how to run an art business now. There are tales of crash-outs and heartening new models; there's something for everyone. Artnet Pro editor Andrew Russeth speaks with Katya about her reporting after she pounded the pavement at openings for exhibitions all over New York City.

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

Most of us can agree: we are living through a cultural crisis. It doesn’t come from a single source—it isn’t just algorithms, aesthetics, politics, or the economy. It’s the convergence of all these forces, and beneath them, the erosion of institutions that once anchored collective life. Over the past decade, digital platforms, like social media, promised to be a new kind of connective tissue—a democratizing force to replace more slow-moving institutions. But while platforms have transformed our economies and society, they’ve also hollowed out the very structures that once gave us shared ground. Mike Pepi has long been a sharp voice in this particular debate. Straddling both the tech industry and the worlds of art criticism and cultural theory, he brings a rare perspective. His writing, which has appeared in Frieze, e-flux, Artforum, and The Brooklyn Rail, also takes the form of a compelling new book called Against Platforms: Surviving Digital Utopia that was published earlier this year. In it, Pepi dismantles some of Silicon Valley’s most enduring myths, and it’s a bracing argument about what we have lost and what’s at stake as we hand over so much power, diminishing along the way some of our core institutions. But he also looks at how we might begin to rebuild them. For the art world in particular, the implications of Pepi's ideas are profound.

This is a re-air of a popular episode from earlier in the year. Have you ever asked yourself: What do artists have to learn from the octopus? Maybe not—but the question is at the heart of the work of Miriam Simun, who currently has an exhibition about her Institute for Transhumanist Cephalopod Evolution at the art space Recess in Brooklyn. And it turns out the answer is mind-expanding. Almost literally. Simun’s unusual art practice can be seen as part of a serious trend in recent years of artists exploring non-human thought of all kinds in the hopes of shifting our troubled relationship to the natural world. The centerpiece of Simun's show at Recess is a series of workshops titled “How to Become an Octopus (and sometime squid).” For these, the artist guides participants through a two-hour program of “psycho-physical” exercises she has developed over many years through collaborations with marine biologists, engineers, dancers, and synchronized swimmers. She’s taught the method all over the world, and the description says the classes are “open to anyone curious about cephalopods, new ways of sensing, and expanding the definition of self”—an audience which included national art critic Ben Davis. He got in there to explore my cephalopod side, and for this week's Art Angle, we talk about Simun’s art and what he took away from my experience in her workshop.