The Art Angle – Détails, épisodes et analyse

We are back this week with our monthly roundup, where we talk through some of the big stories that are making waves in the art world. Today co-hosts Kate Brown and Ben Davis are joined by Artnet's art and pop culture editor, Min Chen. Min commissions and edits a lot of our news coverage including a couple of the stories that we're going to be talking about today. It's August, and despite the fact that this is supposed to be the month where art and culture tends to gear down and the professional art world goes to Greece or the Hamptons, increasingly with every passing summer it seems that the news doesn't stop at all, and in fact sometimes actually ramps up. This week we're going to discuss the abruptly halted auction of artworks allegedly made by Michael Jackson, the art stories on both sides of a prisoner exchange that occurred this month between Russia and the West, and finally the artist who just can't quit: Banksy. He dropped nine animal-themed art pieces this month around London and many are wondering if the world's most famous street artist has slightly lost his touch. Tune in to find out.

There is a lot to unpack—literally and figuratively—in the Metropolitan Museum’s Sleeping Beauties: Reawakening Fashion” which closes on September 2. It’s about nature and the cycle of life (and as it turns out, there is a lot about death). It also touches on chemistry, biology, mythology, and so much more, all told through the lens of fashion. Added to this litany of themes, the show also tells the story of The Met itself, and the goings-on behind the scenes. It’s about how archived garments are preserved and how they are disintegrating. It’s not just about clothes, but about how they were worn and who wore them. It tells the story of us. It’s a visceral exhibition of over 400 years of fashion that engages the senses. It can be a heady experience. There are the sounds of waves crashing, and birds calling, and poems being read aloud. There is textured wallpaper you can touch—and courtesy of the German artist Sissel Tollas, wallpaper you can scratch and sniff and tubes you can snort. Frankly, this portion of the exhibit kicks like a mule and is unforgettable, with scent being such a powerfully triggering memory force. “Sleeping Beauties” was curated by this week’s guest Andrew Bolton, the Curator in Charge of The Costume Institute at The Metropolitan Museum of Art, who previously helmed such blockbusters as “Alexander McQueen: Savage Beauty,” “China Through the Looking Glass,” and “Heavenly Bodies: Fashion and the Catholic Imagination,” which were some of the most visited exhibitions in the museum’s entire history. Today’s fashion-exhibit-heavy museum landscape has a lot to do with Bolton’s successes, but with his trained anthropologist’s eye, he never fails to zero in on the intellectual and human connotations in the garments.  

 If you've seen the artworks of Marianna Simnett, you know that it is not easy to forget them. The multidisciplinary artist who works between film, installation, drawing, painting, sculpture, and even theater, is a world-builder of surreal and sometimes horrific proportions. Her works lodge themselves deep into your psyche with an unsettling amount of imagery, dark humor, and mythologically tinted storylines where animals may become nefarious protagonists, and roadkill might come back to life. Simnett often deals with the body as a site of pain, control, vulnerability, and intervention. And her artworks may make you squirm or even evoke fear, and you may just find yourself wondering, 'am I supposed to be watching this?' I think the answer is yes. While Simnett's boundary-pushing art may not be for the faint of heart, as viewers it is important to be challenged, roused out of our complacency and our comfort zones, it is one way to become more empathetic.  Simnett has been showing widely at institutions on both sides of the Atlantic. Her film, The Severed Tail, was a major talking point at the 59th Venice Biennale, "The Milk of Dreams." It tells the tale of a little pig who enters a fetishistic underworld after a farmer snips off her tail. This coming fall Simnett will be included in Manifesta 15 in Barcelona.  Currently, the artist has a solo exhibition on view at the Hamburger Bahnhof in Berlin. Called Winner, it is part of the official cultural program for the Euro 2024 Soccer Championship, which is being hosted in Germany this year. In this multi-channel video installation Simnett takes on the world's and rituals of soccer, its fouls, injuries, social dynamics, and hooliganism. I won't spoil it for you, but it is definitely soccer like you've never seen it before. On top of all that talent and accolades, Simnett is also a classically trained flutist. It's an instrument that I find compliments her wider art practice perfectly—its fantastical, folkish, a bit eerie, and definitely other-worldly. On this episode of the Art Angle, Senior Editor Kate Brown speaks to Simnett, who also obliged us by playing the flute at the top of the episode. All audio excerpts in this episode are included courtesy of Marianna Simnett. 

You've seen it. A woman in a blue turban set against a black background looking over her shoulder like you just called her name. She's wearing a heavy pearl earring in one ear, and her skin is so luminous it looks like she swallowed a light bulb. Yes, I'm talking about Girl with a Pearl Earring, one of the most famous paintings in the world. It's been reproduced countless times on mugs, t-shirts, and pillows. It has inspired poems, novels, and movies. But the artist who created Girl with a Pearl Earring, he remains shrouded in mystery. Strangely little is known about Johannes Vermeer. He lived in Holland in the 17th century and died in 1675 at the age of 43. He made fewer than 36 paintings. And audiences around the globe are fascinated by his portrayals of quiet domesticity. It's always been assumed he worked in the same kind of solitude that he often depicted in his paintings. But new research is challenging that assumption. Over the past several years, museums have used cutting edge technology to get under the surface of Vermeer and learn more about how he actually worked. To discuss Vermeer's many secrets and the artist we thought we knew, Executive Editor, Julia Halperin, spoke with Kriston Capps, a Washington DC based contributor to Artnet News.

It’s been a challenging few years for art museums. But Sandra Jackson Dumont, the director and CEO of the Lucas Museum of Narrative Art in Los Angeles, has never felt more energized about their potential. And that feeling is infectious. At the most recent American Alliance of Museums conference, Jackson-Dumont opened her keynote speech with a love song by ’70s soul singer Donny Hathaway. Then she asked the audience: “Don’t you want people to see your institutions that way?”  For more than 20 years, Jackson-Dumont has been a force in education and public programming, launching enormously popular initiatives at the Metropolitan Museum of Art and the Seattle Art Museum. She has spent her career blurring distinctions between fine art and popular culture, and creating alternative ways for the public to interact with art and museums. This mission has followed her to the Lucas Museum. Slated to open in 2025, the museum founded by George Lucas and Mellody Hobson prioritizes art and audiences that have not always been taken seriously by the elite art world.  It’s clear Jackson-Dumont has a long track record of breaking new ground. That’s why we chose her as one of Artnet News’s New Innovators for 2022. The Innovators List will be published in full later this month. Ahead of the release, Jackson-Dumont spoke with Artnet News contributor Janelle Zara about how she is challenging the museum model as we know it. 

A glittering forest with a floor covered in leaves by Gustav Klimt. A country road painted with psychedelic purples, greens, and pinks by David Hockney. A tangle of loping lines against a gray background by Brice Marden. Most of us have encountered art like this on the walls of a museum. As a matter of fact, these particular works have been shown at LACMA, the Guggenheim Bilbao, and the Serpentine in London. But after those shows closed, they were all packed up and sent back to the same owner. The owner’s name was Paul Allen. Paul Allen is a bit of a legend in art collecting circles. Part of that was because of his fortune. When he died in 2018, Allen was the 44th richest person in the world. Another part of that legend was his secrecy. Allen was notoriously private about the art he collected. Although he did lend works to museums around the world, he was not always identified as the owner and he never appeared in an auction room holding a paddle. Allen was born in 1953 in Seattle and became friends with Bill Gates in high school. They cofounded Microsoft in 1975 and ushered in the microcomputer revolution. But Paul had a lot of other interests, too. At the age of 35, he became the youngest owner the NBA when he bought the Portland Trailblazers. He also owned the Seattle Sea Hawks and founded museums in his hometown dedicated to vintage computers, military aircraft, and pop culture. For most of his life, art remained a more private passion. But four years after Allen’s death from Hodgkin lymphoma in 2018, Allen’s estate is selling a portion of his art collection—more than 150 lots, to be exact—at Christie’s. And for the first time, the public is able to get a brief glimpse at the many treasures Allen acquired altogether, before they likely disappear into private hands again for who knows how long. The collection is estimated to fetch more than $1 billion, with all the money going to charities he supported during his life. It’s pretty much guaranteed to become the most valuable collection ever sold at auction. So how does one man assemble such a valuable trove of art in a relatively short amount of time? And how does that kind of collector track down, evaluate, and live with art? What makes someone a good art collector in the first place? Artnet News Executive Editor, Julia Halperin spoke with the Director of the Paul Allen Collection, Mireya Lewin, and the Vice Chairman, 20th and 21st Century Art, Americas at Christie's, Max Carter, to find out.

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...

"Flipping" was once a dirty word in the art market. But that is no longer the case. Over the past decade, speculative reselling has become big business as the market for ultra-contemporary art has soared. Sales of art sold within three years of its creation date have grown 1,000 percent over the past decade, to almost $260 million. (For context, over the same period, the S&P 500 rose just about 200 percent.) Historically, only collectors have been able to benefit from this practice—not artists or their dealers. In the U.K. and France, artists receive a small resale royalty when their work is resold at auction. In the U.S., they get nothing. That’s why, over the past few years, artists, gallerists, and entrepreneurs have started to take matters into their own hands, engineering new ways to either stamp out flippers or create systems so that artists can benefit more directly when their work is resold for a big profit. This shift is the subject of our fall 2022 Artnet News Pro Intelligence Report. Ahead of the report’s release, we gathered together an expert panel at Cromwell Place in London during Frieze moderated by our own executive editor Julia Halperin. We spoke with Max Kendrick, co-founder and CEO of Fairchain, a company that is using the blockchain to create new ways of conducting art sales; Rachel Uffner, owner and director of Rachel Uffner Gallery in New York; and Lucien Smith, an artist and director of the Cultural Innovations Lab at the art management platform Lobus. As you’ll see, there is little consensus about what to do about flipping. If you want to learn more, subscribe to Artnet News Pro for the full Artnet News Intelligence Report, out soon.

The art world was caught by surprise earlier this year when it came to light that Paris’s long-standing art fair, FIAC, was being ousted from its precious October slot at the formidable Grand Palais in Paris. It turned out that it was none other than the biggest fair titan of them all Art Basel, and its winning vision for the French capital, that would be taking its place. Enter Paris+, Basel’s newest fair that hopes to be a bridge between the French institutional landscape and the art industry. The timing for Paris could not be better: dealers have been clamoring to open up shop in its arrondissements just as a string of premier new museums have opened their doors. Ahead of the fair’s inaugural opening on October 20, London-based European Market Editor Naomi Rea and Berlin-based Europe Editor Kate Brown sat down to take a look at the dramatic events that led up to the takeover, and offered their predictions for what to expect of this major market moment.

A brand-new publication, penned by the London-based critic and Artnet contributor Hettie Judah, is trying to tear down a dusty old myth that hangs around in the art world: that artists can’t be parents and be successful. With her new book published last week, called How Not to Exclude Artist Mothers (and Other Parents), Judah tries to capture the ways in which mothers, fathers, and other guardians have historically been excluded from the various realms of the art world. She interviewed scores of international artists to build a full and complex picture of this significant issue, which remains a problem in nearly every sector of the industry. How Not to Exclude Artist Mothers (and Other Parents) traces the history of the domestic and artistic pursuits, the pain points that endure, and the success stories that may offer workable ways forward. To crack open this important book and the issue it interrogates, Judah spoke with our Europe editor Kate Brown.