The Art Angle

Although the coronavirus pandemic is first and foremost a public-health emergency, it rapidly proved to be a deep financial emergency, too. With businesses and cultural institutions around the world forced to shutter en masse in the face of social-distancing regulations, questions loom large about how the global economy and the workforce will endure a prolonged period in which all but "essential" laborers must work from home—or not at all. This proposition is especially worrisome in the art industry, where so many artists and small businesses weather precarious conditions even in the best of times, making them especially vulnerable to financial ruin in our current extraordinary moment. Yet different Western nations are responding to the cultural crisis in very different ways. The United States hammered out a roughly $2.2 trillion rescue package that contained only $300 million specifically earmarked for arts and media causes, and conservative politicians attacked even this paltry amount as wasteful spending. In contrast, Germany announced a federal aid package featuring a whopping €50 billion ($54 billion) to be distributed to freelancers and small businesses, including those in the arts, while the country's culture minister praised artists as "not only indispensable, but also vital, especially now." Even more assistance came from the city-state of Berlin, which began funneling €5,000 payments to individual freelancers almost instantly with the promise that "there will be enough for everyone." On this week's episode, Artnet News's European editor Kate Brown calls in from her home in Berlin to discuss all sides of Germany's stunning cultural rescue plan. How did a country known for its sometimes-daunting bureaucracy manage to assemble such a generous bailout in such short order? What kind of political climate enabled it? And what does the package mean for the future of the arts in Berlin and Germany at large once the crisis finally ends?

Art history thrives on stories of fearless visionaries leaving behind the lives they've known to embark on journeys into uncertain lands for personal enrichment and artistic illumination. But few are as surprising as that of Agnes Pelton, the spiritualist painter who departed New York in 1932—alone, at the age of 50—to begin a new chapter in the California desert. There, she supported herself for years by selling realistic portraits and landscape paintings to tourists while, largely unbeknownst to others, she also pursued a connection to the divine through one of the most forward-looking painting practices of the early 20th century. A lifelong student of occult literature and unorthodox philosophies, Pelton languished in obscurity for decades before and after her death in 1961. But a handful of perceptive curators and scholars eventually recognized the importance of her otherworldly, semi-abstract canvases, which intermingle ethereal forms with a few identifiable symbols loaded with deeper meaning, such as stars and mountains. Pelton's supporters first succeeded in bringing her work to the larger art world's attention in the late 1980s, and more than 30 years later, she became the subject of a sweeping and critically admired solo exhibition that traveled to the Whitney Museum of American Art this spring (before the museum, like so many others, was forced to close until further notice). On this week's episode, curator Barbara Haskell, who oversaw the Whitney's installation of Pelton's show, joins Andrew Goldstein to discuss the artist's scandal-plagued upbringing, all-consuming engagement with spiritualism, and lasting relevance in a world once again seeking greater meaning beyond the physical realm.

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.

For its first-ever live episode, recorded at the 2020 Armory Show, the Art Angle brought on couture wunderkind Sander Lak, the creative director of the white-hot Sies Marjan, to discuss the intersection of art and fashion. The Dutch designer, who named his label after his parents, strutted out onto the sartorial landscape in 2016 with his debut collection, and he was officially anointed by the high-fashion establishment in 2018 when the esteemed Council of Fashion Designers of America (CFDA) named him its Best New Designer. His collections are defined by deep jewel-tones and streamlined, sleek silhouettes that are beloved by celebrities and mere mortals alike—and as a longtime art enthusiast, Lak consistently finds fascinating ways to incorporate the work of boundary-pushing contemporary artists into his work. At the time of this conversation, the Guggenheim Museum in New York had just unveiled the epic exhibition "Countryside, the Future," an examination of the pastoral in an urbanized world by the visionary starchitect Rem Koolhaas and his studio, OMA. Sies Marjan, helmed by Lak, signed on as a sponsor of the exhibition, and Lak was given unrestricted access to Koolhaas and his trove of research on the show to mine as inspiration for his Fall 2020 fashion line. The result was more than a new collection of rustic accoutrement. It became a point of reckoning for Lak and his perspective on the fashion industry at large, as well as how his practice—and the discipline at large—relates to contemporary art.

Usually, the first weeks of March are intensely busy ones for the international art community, as they lead up to the Art Basel Hong Kong art fair: an unmissable event that galleries, museums, and even other cultural sectors in the region have used as an anchor to present their own very best programming to visitors from around the globe. This year, though, the staggering impact of the novel 2019 coronavirus has forced Art Basel to cancel its Asian fair, beginning a long cascade of postponed and canceled art events around the globe. For the residents of Hong Kong, life has been turbulent for much of the past year, ever since pro-democracy protests began roiling the city and its art scene in late March 2019. Although Hong Kong has been praised by the World Health Organization for its rapid and effective response to the virus—it harbors only about 115 cases of COVID-19 at this time, including just three fatalities—its ace public-health infrastructure has not exempted the city from an economic crisis first sparked by the demonstrations, then accelerated by the measures taken to protect its citizens from infection. Where does this latest upheaval leave Hong Kong's artistic community? Roughly two months after joining the Art Angle to discuss the effects of the protests, reporter Vivienne Chow calls in to this week's episode from her home in Hong Kong, where she and her fellow residents have been self-isolating for weeks. She provides a front-line view of both the challenges and the opportunities presented by the coronavirus, from the eerie reality of museums, art galleries, and auction houses devoid of people, to the ingenuity and resilience shown by the many businesses launching virtual exhibition and selling platforms to compensate for the loss of face-to-face interactions with collectors, curators, and enthusiasts. As the rest of the world tries to cope with the ever-changing conditions of the epidemic, Chow's account provides perspective, and even a measure of hope, for how life and culture can weather the crisis.

A man on the run, millions of dollars missing, major artworks with multiple claims to ownership: these aren't plot points in the latest Hollywood blockbuster, they're elements of the real-life rise, fall, and disappearance of the young art dealer Inigo Philbrick. The son of a lauded museum director and a graduate of the esteemed Goldsmiths University of London, Philbrick got his start in the art market as an intern at the world-renowned White Cube gallery at the tender age of 23. There, under the tutelage of founder Jay Jopling, he quickly rose through the ranks to lead a successful in-house private-sales division, before striking out on his own as a big-money dealer who would go on to boast permanent spaces in London and Miami, central seats at every major evening auction (where he was a frequent buyer and third-party guarantor), and a lavish lifestyle punctuated by private-jet flights around the world and even a celebrity-socialite paramour. In short, Philbrick seemed to be the art market's golden child—until in late 2019, the lawsuits against him started landing fast and furious. Suddenly, the one-time prodigy stood accused of forging legal documents, refusing to pay enormous debts, and literal double-dealing of artworks priced in the millions of dollars each. And rather than stay and defend himself in court, Philbrick instead vanished into thin air, leaving his one-time partners and clients to fight over scraps. Today, reams of legal documents point to his apparent modus operandi: selling the same partial shares of pieces by in-demand artists to multiple profit-hungry high-rollers looking for a quick-yet-juicy return on investment, as well as using art-backed loans to wring cash out of works whose true ownership may have been questionable at best. The key to these strategies? A willingness to exploit the many gray areas within an increasingly financialized art market, where handshake deals and blind faith still too often substitute for due diligence and rigorous contracts. So how did so many members of the art world's elite become unwitting co-stars in our industry's own version of The Big Short? How high might the losses climb by the time this sordid saga ends? And where, exactly, has the art market's most-wanted man gone? On this week's episode of the Art Angle, senior market reporter Eileen Kinsella unspools the twisted tale of Inigo Philbrick, which she reported on in depth for Artnet's Spring 2020 Intelligence Report.

There's a buzzy new museum taking over New York, and it boasts the types of specs that would make competitors drool. Now housed in a prime 25,000-square-foot building in the hip SoHo neighborhood, this fresh destination has welcomed more than 1.5 million visitors since it launched as a pop-up back in 2016, and its $39 ticket price is higher than any major museum in America. But it's not the Museum of Modern Art... or a traditional art museum at all. It's the Museum of Ice Cream. This magical cash cow—last year, venture capitalists valued it at more than $200 million—is a tour de force in the realm of the experience economy. It has spawned throngs of imitators hoping to replicate what co-founders Maryellis Bunn and Manish Vora have termed an "experium," or an attraction that combines a memorable (and Instagrammable) in-person "experience" with the cultural enrichment of a classical museum (or some of it, anyway). Instead of art on pedestals or in gilded frames, the MOIC presents visitors with a giant pool filled with plastic sprinkles, an ice-cream-themed slide traversing three floors, and many more sweet visual treats. Instead of erudite texts penned by a curator or academic, the walls next to the various sights boast QR-codes that allow visitors to access branded selfie filters. You get the picture. For this week's episode of the Art Angle, Artnet News national art critic Ben Davis braved the Presidents' Day weekend crowds to get a taste of the MOIC's hot-pink environments and oh-so-cool installations so he could report back with his impressions. As he identified back in 2016, Bunn and Vora's creation is one of the attractions luring visitors across demographics into a stampede toward what he calls "Big Fun Art": immersive, flashy spectacles that prize social interaction over personal edification. So what does the Museum of Ice Cream's four years (and counting) of resounding success signal for the future of museums and cultural attractions on a wider scale? Is this the solidification of a sugar-spun phenomenon, or will this trend be licked before too long?

Some 16 months after the brutal murder of Washington Post journalist and Saudi dissident Jamal Khashoggi at the hands of state agents, the organization behind the namesake Southern California biennial Desert X announced that it would put on an ambitious new exhibition of contemporary art in AlUla, a UNESCO World Heritage Site deep in the Medina region of Saudi Arabia. Word of the show (which debuted this February) incited a firestorm of criticism from international art-world figures, including three of Desert X's own advisors—artist Ed Ruscha, art historian and curator Yael Lipschutz, and philanthropist Tristan Milanovich—all of whom resigned in protest. Mohammad Bin Salman, the crown prince of Saudi Arabia, has simultaneously denied ordering Khashoggi's slaying and publicly taken responsibility for it because the act "happened on [his] watch." The dissonance between those concepts parallels the dissonance playing out on a national level under his rule. On one hand, MBS (as Bin Salman is popularly known) has launched major social reforms, including curtailing the authority of the religious police and permitting women to drive, as well as continuing to pump vast government resources into new cultural initiatives such as Desert X AlUla—all with the aim of diversifying the oil-dependent Saudi economy and improving the country's dubious reputation with more progressive world leaders. On the other hand, MBS has also made several troubling moves to consolidate power in recent years, including arresting prominent opposition clerics and imprisoning more than 200 businessman, princes, and other officials in Riyadh's Ritz-Carlton hotel for weeks under the guise of an anti-corruption crackdown. So how exactly does Desert X in particular, and art in general, fit into this high-stakes geopolitical puzzle? Is the burgeoning Saudi contemporary art scene little more than a propaganda weapon wielded by MBS? Can the kingdom's homegrown artists and projects ever be evaluated on their creative merits once they accept funding or other support from the crown? And if so, where can those lines be drawn? On this week's episode of the Art Angle, journalist Rebecca Anne Proctor called in just days after returning from her visit to Desert X AlUla to discuss the controversial show, the backlash it inspired, and what Western critics could learn from speaking with the artists involved themselves.

The Oscars may be over, but Hollywood is about to be overrun with a different kind of A-lister this week when the art world descends on Tinseltown for the second edition of Frieze Los Angeles. Despite the glut of disposable income earned from media moguls and tech startups, it has long proven difficult for East Coast dealers to make inroads with prospective clients on the country's opposite flank. In this context, the success of Frieze's southern California debut last year was a pleasant surprise. One gallery that has had no problem endearing itself to a diverse audience in Los Angeles from the start is Various Small Fires. Co-founded in 2012 by Esther Kim Varet and her husband Joseph Varet, VSF, as it's commonly known, occupies a highly coveted spot along a gallery-rich stretch of Highland Avenue in Hollywood. Its Johnston Marklee-designed Art Deco-style building boasts a 3,000-square-foot main gallery connected to two adjacent project spaces, a roofless back patio that acts as an oasis in the midst of the bustling city, and the rare eco-friendly pedigree of running on 100 percent solar energy. Though the roster is small, VSF's 12 artists hold an outsize claim on the LA art scene—and beyond—with strong institutional presences and a near-constant waiting list for new work. One key to this impressive reach? The gallery's forward-looking decision to embrace Kim Varet's Korean heritage and open a second permanent space in Seoul in early 2019, allowing VSF to connect with young collectors on both sides of the Pacific. On this week's episode, Andrew Goldstein speaks to Esther Kim Varet from her office in California about what makes VSF an outlier in the often-staid, anachronistic world of art galleries, how dealers can win their artists institutional sustainability in an increasingly market-oriented field, and why photorealist painter Calida Rawles is poised to lead a renaissance of the underappreciated genre.

Over the past few weeks, the long-awaited trial of former Hollywood rainmaker Harvey Weinstein has unfolded in harrowing fashion, with one after another of his accusers taking the stand to allege patterns of sexual and psychological abuse. The grim courtroom proceedings are only the latest shockwave from the #MeToo movement, which grew from accusations against Weinstein into a national reckoning with sexual harassment, sexual assault, and other rampant abuses perpetrated by those in positions of power. The art world has not been a safe haven from this heinous activity. In fact, one of the most notorious predators in the mainstream news cycle also cast a long shadow over this niche industry. This week on the Art Angle, Andrew Goldstein sits down with Artnet News deputy editor Rachel Corbett to discuss a serial predator whose victims inside and outside the arts will never have the chance to confront him: Jeffrey Epstein. Many questions remain to be answered after Epstein, the former financier, arts patron, and convicted sex offender who counted numerous elite figures among his inner circle, was found dead of an apparent suicide in his jail cell while waiting to stand trial for charges of sex trafficking in New York. But his alleged crimes have taken on new life in the art world due to detailed, troubling accusations made by painter and former New York Academy of Art student Maria Farmer, who claims Epstein and his associates leveraged her creative ambitions against her for their own perverse ends. Farmer's disturbing story details how Epstein turned the largely unregulated art world into a hunting ground for new victims. The issues raised by her accusations also loom large over all creative fields, where personal relationships and favors from the top of the hierarchy can make or break the careers of young, talented people striving to make their mark. Please be advised: This episode contains accounts of sexual abuse that some listeners may find disturbing.

You don't hear the words "witch hunt" much nowadays, unless they are being deployed by a certain US President. But the term is increasingly relevant—in a much more literal sense—to any tour through the art-historical canon, where witchcraft, paganism, and the occult seem to be more important presences every day. This development is in tune with what's happening in mainstream culture, too. More than one million Americans today identify as Neopagans or Wiccans, and many businesses are riding their broomsticks straight to the bank. In the US, more than $2 billion is spent on "mystical services" each year, ranging from tarot card readings to online horoscopes, and you can find a slew of podcasts on the subject with titles like "Hippie Witch," "so you wanna be a witch?" and "The Witch Bitch Amateur Hour," to name just a few. What exactly is driving this spiritualist surge? This week, author and art critic Eleanor Heartney joins the Art Angle to divine the details of this phenomenon in art and culture. Following an article for Artnet News in which she traced the intensifying focus on artists exploring occult practices in recent museum exhibitions—most notably the Guggenheim's attendance-record-breaking retrospective of the Swedish mystic artist Hilma af Klint—Heartney discusses why spiritualism and the occult are on the rise in 2020, how feminism fits into the puzzle, and what her new book, Doomsday Dreams: The Apocalyptic Imagination in Contemporary Art, has to say about breaking through a history of cataclysm-inclined thinking.

After a period of reckoning with a less-than-inclusive art historical canon, it seems increasingly clear that viewers (and dealers) are once again ready to embrace fresh young talent from the land of the living—artists bringing new perspectives and ideas into the sometimes-staid institutional mix. Among this up-and-coming group, one name on almost everyone's lips right now is Nicolas Party. A preternaturally good-natured 38 year-old, Party has won widespread attention not for some technologically savvy mixed-reality experience, but in fact, for the opposite. The Swiss-born artist is actually a proponent of one of the oldest art-making mediums, using pastels to conjure fantastical landscapes, portraits, and still lifes that are just as colorful as the Missoni sweaters he's fond of. On this week's episode of the Art Angle, Party discusses his evolution from a teenage street artist trying (and eventually, failing) to elude authorities in his native Lausanne, to an art-school student working in digital modeling, to a hands-on figurative artist who recently became the youngest-ever member of mega-gallery Hauser & Wirth—a transformation that has propelled his works as high as seven figures at auction.

Above and beyond its well-established status as a global financial center, Hong Kong has spent the 21st century rapidly transforming into an international nexus for the art market: welcoming to both Eastern and Western collectors, appealing to institutions and artists alike for its vibrant economy and cosmopolitan character, and stabilized by its unique embrace of democratic values just a stone's throw from state-dominated mainland China. But since March 2019, Hong Kong has been rocked off its axis by ongoing and increasingly violent political protests, all sparked by what the demonstrators read as aggressive moves by Xi Jinping and his agents to accelerate the so-called "handover" of the former British colony to Chinese control several years earlier than scheduled. With free speech and free governance hanging in the balance, art and journalism have become pivotal forces in the battle for Hong Kong's future. In this episode of the Art Angle, Artnet News contributor Vivienne Chow—a Hong Kong native—gives a moving firsthand account of what it’s like to cover these volatile events from the front lines, where artists fit into the protests, and how the experience has challenged her perception about nothing less than the meaning and importance of art. And all of this while she simultaneously has to process how her home morphed into a place she could not have imagined only a few years earlier, and whether Hong Kong or its art scene will ever be the same.

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

As a barrage of retrospective pieces from countless publications (including Artnet News) made clear throughout December 2019, the opening moments of 2020 signal a new decade, not just a new year. Looking back, the 2010s seem to be defined by one intense development after another, including an ever-expanding digital revolution, an ever-widening chasm between rich and poor, the ever-heightening peril of climate change, and so much more. The art world felt the effects of these changes throughout the decade, but it also sought to grapple with, adjust to, and even counteract them. Artists were at the forefront of this charge, whether the subject at hand was sexism, racism, classism, or any number of other systemic injustices. And the key artworks of the 2010s enhanced our understanding of the era in ways that were unforgettable, even if they weren’t always pleasant. What were those key artworks, though? With the benefit of hindsight and a ratings system devised to reach past the simple idea of “best” pieces, Artnet News national art critic Ben Davis walks listeners through highlights of his multi-part, 100-work list. Some of his choices are almost guaranteed to surprise you. (They certainly surprised our editors!)

At the start of December, the Art Angle team had other, loftier ideas for the show's first Christmas episode. Maybe we would dig into the most important developments in the art world this past year or examine the growing pro-democracy protests in Hong Kong and their effect on the city's cultural community. But then, we lived through this year's edition of Art Basel Miami Beach, where superstar Italian artist Maurizio Cattelan duct-taped an ordinary supermarket banana to the wall of his gallery's booth at the fair, declared it an artwork, and priced its first edition at the eyebrow-raising sum of $120,000. From there, all hell broke loose. And after the astonishing sequence of events catapulted Comedian (the work's official title) beyond the art world and squarely into the center of pop culture, it became a stone-cold guarantee that, if your job has something—anything—to do with art, the banana will be one of the first topics of conversation your friends and extended family bring up during your holiday celebration. So we caved to the inevitable and made this episode your banana survival guide, covering everything you need to know about this (in)famous artwork in just over 20 minutes. First, Artnet News senior writer Sarah Cascone, who broke the story of the banana's initial sales from the floor of Art Basel Miami Beach, charts how this once-anonymous fruit duct-taped to the wall became an obsession for the world at large. Then, Artnet News national art critic Ben Davis parachutes in to explain what it all means in the context of art history, and why, as a sculpture, Comedian is both slightly more—and much, much less—than meets the eye.

Six decades ago, an editor at Newsweek magazine summoned a young journalist named Calvin Tomkins out of the foreign-news department to interview the legendary conceptual artist Marcel Duchamp, who had allegedly left art-making in favor of playing chess and... simply breathing. Although it would be years before Tomkins discovered Duchamp had in fact already been at work on his magnum opus, Étant Donnés, for years before their first meeting, this chance encounter altered the trajectory of his career and life. Duchamp was the gateway to what would become a prolific collection of artists—many of them eccentric or otherwise challenging, all of them great (or at least noteworthy)—that Tomkins went on to profile in the pages of the New Yorker beginning in 1962. Dozens of those profiles have now been compiled into a lavish new multi-volume set, titled The Lives of Artists, published by Phaidon. The collection joins 18 other books that Tomkins has previously published on artists and the art world, including an essential biography of the man who started it all for him: Marcel Duchamp. In the process, Tomkins has arguably become known as the world's authority on not only many of the most consequential postwar and contemporary artists in the canon, but also on the art of profiling itself. To celebrate the release of The Lives of Artists, Tomkins joined Artnet News editor-in-chief Andrew Goldstein in studio to discuss his one-of-a-kind journey, what David Hammons shares with Duchamp, and even the editioned banana that took over the world, AKA Maurizio Cattelan's Comedian.

For our latest episode, team Art Angle traveled to Art Basel Miami Beach to examine a much thornier and more urgent issue than the glamorous trade show's business: the art world's impact on Mother Earth. From thousands of deep-pocketed collectors flying in to south Florida for the week's festivities, to the hundreds of black cars and Ubers ferrying attendees from event to event, to the (literal) tons of artworks shipped by air, land, and sea to Miami's convention centers for a scant five days of exposure, the ecologically punishing realities of the art fair demand that we take a hard look at their sustainability for the planet—and ask bigger questions about the art world's responsibility to address the climate crisis. The need for action only intensifies in light of the fact that Art Basel Miami Beach is just one of nearly 300 art fairs held around the globe every year, and that many of these events take place in the coastal destinations most imperiled by climate change. Art Basel Miami Beach is held just a few blocks from the waterfront where the sea level has tripled over the past decade, causing the city to ship in imported sand to keep its coastline from disappearing entirely. And this is just a prelude of things to come in other crucial art hubs like Hong Kong, London, New York, and Los Angeles. Given the art world's cherished progressive reputation, how long can it justify the extraordinarily outsize habits of its fairs, institutions, and jet-setting elites? In what ways could the various players in the global art market minimize the damage they do to Mother Nature? And how are artists, as well as climate-activist groups like Extinction Rebellion, foregrounding the need for change in the cultural sphere? In the middle of Miami Art Week, Artnet News's European editor Kate Brown joined Andrew Goldstein by phone from Germany to tackle these urgent questions, and more.

This week, what seems like the entire art industry, every luxury company, and every celebrity or status-seeker available will be traveling to south Florida for the 18th edition of Art Basel Miami Beach, the final stop on the annual art-market calendar—as well as a champagne-soaked playground for the rich and famous. And while people love to complain about this particular fair, Art Basel matters to the art business in an enormous, almost existential way. Since its founding in 1970, Art Basel has evolved from a bespoke trade fair for German-speaking art collectors near its namesake Swiss city into a commercial Colossus linking Europe, Asia, and the Americas via three supersized fairs. Each event doesn't only draw buyers and sellers of art who regularly transact in the millions of dollars, or even just the broader constellation of curators, journalists, and art lovers. It has also become a beacon for almost anyone hoping to ride the cultural wave that is contemporary art and its clientele, from major corporations to micro-influencers. And in its wake, literally hundreds of other art fairs have risen up around the world hoping to do something similar. But have Art Basel and its competitors done more to help the art world, or to hurt it? How have trade fairs warped the way we value artists and their work? And if big fairs have become a big business, why are so many starting to either branch out... or die off? Just in time for Art Basel Miami Beach 2019, Artnet News executive editor Julia Halperin weighs in on the past, present, and future of art fairs.

The 90-year-old Japanese artist Yayoi Kusama is an international sensation. Exhibitions featuring her ongoing series of “Infinity Mirrored Rooms” consistently draw tens, if not hundreds, of thousands of visitors from all walks of life, with many enduring multiple-hour wait times for the opportunity to spend as little as a single minute inside the installations (and almost undoubtedly using much of that hard-won time to snap an obligatory selfie). Now, the Kusama phenomenon is electrifying New York once again this holiday season—and at an unprecedented new scale. David Zwirner is currently in the midst of “Every Day I Pray for Love,” a solo show by the artist that has been magnetizing nearly 2,000 visitors a day to its West 20th Street gallery in Chelsea. And later this week, Kusama’s work will be beamed to an estimated 23 million viewers around the globe in the form of a monumental artist-designed hot-air balloon that will soar through the streets of Manhattan as a part of the Macy’s Thanksgiving Day Parade. Yet such widespread popularity seems even more incredible to the much smaller group of aficionados familiar with Kusama’s artistic and personal trials, as well as the often challenging, even unsettling, themes under the Instagram-friendly surface of her works. So how did a career that began with guerrilla performances and protest pieces wind its way through voluntary commitment to a psychiatric facility and crescendo in family-friendly social-media ubiquity? Artnet News national art critic Ben Davis unwinds the unlikely history and undeniable resonance of Kusama’s groundbreaking practice.

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.

Hans Neuendorf had already built a storied career as an art dealer by the late 1980s, helping to bring Pop art from the United States to Germany, co-founding the first-ever art fair (Art Cologne), and putting his resources behind homegrown star-to-be Georg Baselitz when the artist was still roundly dismissed. But nothing Neuendorf did earlier changed the art market as drastically or irreversibly as when he founded Artnet in 1989, on the belief that a shared database of the prices achieved by artworks at auction would bring transparency and newfound efficiency to the opaque, antiquated art market. Today, as we know, the once-quaint art business has evolved into a global art industry. Even as purists continue to cry out that any thought toward money destroys the bridge art can build to transcendence, data-driven art flippers chase astronomical returns on investment, as if paintings were just a prettier asset class—and none of it would have been possible without Artnet’s data. Is this what Neuendorf had in mind? And either way, how have the past three decades at the helm of Artnet altered his viewpoint on where the art market might go in the next 30 years? Artnet News editor-in-chief Andrew Goldstein sat down with Neuendorf to find out these answers and much more.

Already one of the world's most renowned and visible artists, Anish Kapoor is entering new territory by opening multiple major exhibitions on opposite ends of the Earth within a few weeks of each other this fall. On October 25, he debuted twin shows of new work at Lisson Gallery's two spaces in New York. And on November 10, he unveils a significant solo exhibition split between Beijing's Central Academy of Fine Arts and the Taimiao Art Museum of the Imperial Ancestral Temple, making him only the second non-Chinese artist to show at the threshold of the Forbidden City. In the midst of this historic whirlwind, Artnet News editor-in-chief Andrew Goldstein sat down with Kapoor inside Lisson's New York headquarters to discuss his newest perception-defying sculptures, the relationship between his activism for human rights and his decision to exhibit in the heart of China, and the ongoing controversy around his work with "the blackest material in the universe," Vantablack. Special thanks to Lisson Gallery for hosting this episode of the Art Angle.

To mark the 500th anniversary of Leonardo da Vinci's death, the Louvre pulled out all the stops to present a blockbuster exhibition of some of the Old Master's greatest works, along with a few technological surprises to help viewers see his contributions in a whole new way. But do these moves manage to contextualize Leonardo in our contemporary moment? And what role is—or isn't—played by Salvator Mundi, the painting sold at Christie's for a record-annihilating $450.3 million before disappearing from view for almost two years? Associate editor Naomi Rea phones host Andrew Goldstein to discuss the masterpieces on view, the Louvre's attempt to take Leonardo into virtual reality, and the seemingly never-ending intrigue around Salvator Mundi.

After over $400 million in renovations and a multiple-month closure to the public, the Museum of Modern Art is back. National art critic Ben Davis sits down with host Andrew Goldstein to address the curators' attempts to decenter the Western canon, what the changes might mean for MoMA's hordes of tourists, and whether a museum this hallowed can ever be a sanctuary from the larger cultural conversation.