The Art Newspaper Weekly

To coincide with International Women’s Day on 8 March, the South London Gallery is opening the exhibition Acts of Resistance: Photography, Feminisms and the Art of Protest. Activism and photography have long gone hand in hand but this collaborative exhibition, organised with the Victoria and Albert Museum (V&A), attempts to capture a new chapter in this distinguished history, with a particular focus on feminism across the world. We talk to Sarah Allen, the head of programme at the South London Gallery, and Fiona Rogers, the V&A’s Parasol Foundation curator of women in photography, about the show. The financier, philanthropist, collector and leader of cultural organisations Jacob Rothschild died last week at the age of 87. We talk to Anna Somers Cocks, the founder of The Art Newspaper, who interviewed Lord Rothschild on numerous occasions, about his impact on the visual arts and heritage. And this episode’s Work of the Week is Adelphi, made in 1967 by Robert Ryman. It is one of around 50 pieces by Ryma

As Frieze Los Angeles opens its fifth iteration, The Art Newspaper’s associate digital editor, Alexander Morrison, talks to our correspondent in LA, Jori Finkel about the changing landscape of the city’s art scene. In London, the Royal Academy has finally opened an exhibition dedicated to the 18th-century painter Angelica Kauffman, a show that was threatened with cancellation as Covid ravaged the plans and finances of museums. We take a tour of the exhibition with its co-curator, Annette Wickham. And this episode’s Work of the Week is The Space Between Trees (2019), the late Canadian-Chinese painter Matthew Wong’s direct response to a lost masterpiece by Vincent van Gogh, The Painter on the Road to Tarascon (1888). The connection between the two artists is explored in a new exhibition at the Van Gogh Museum in Amsterdam, Painting as a Last Resort. Its curator, Joost van der Hoeven, tells us more.Frieze Los Angeles, until Sunday, 3 March, Santa Monica Airport, Los Angeles.Angelica Kauffman, Royal Academy of Ar

The exhibition The Time Is Always Now, featuring 22 artists from the African diaspora whose work takes the Black figure as its starting point, is now open at the National Portrait Gallery in London, and will tour to Philadelphia later in the year. We explore the show with its curator Ekow Eshun. 2024 marks the centenary of the the first Surrealist manifesto by André Breton, and the first of a series of exhibitions focusing on the movement this year opened at the Royal Museums of Fine Arts of Belgium in Brussels this week, before travelling to the Centre Pompidou later in the year and Hamburg, Madrid and Philadelphia (again) next year. But what did that first manifesto contain and how did it influence the course of the movement? Alyce Mahon, a Surrealism specialist and professor of Modern and Contemporary Art at the University of Cambridge, tells us more. And this episode’s Work of the Week is Eagle Dance (1934) by Tonita Peña, one of the leading Native American Pueblo artists of the 20th century. It features

A vast survey covering seven decades of art by Yoko Ono has just opened at Tate Modern, and we take a tour of the show with Juliet Bingham, its curator. The collection from Elton John’s home in Atlanta in the US is up for auction at Christie’s and ahead of its big Opening Night auction next week, The Art Newspaper’s associate digital editor Alexander Morrison spoke to Tash Perrin, Christie’s deputy chairman in the Americas, about the works and John’s particular taste in art and objects. And this episode’s Work of the Week is a reconstructed and reimagined statue of the fourth-century Roman emperor, Constantine the Great. The colossus has been remade from the 10 known fragments of the original sculpture by the Madrid-based Factum Foundation, and was installed last week in a garden in Rome’s Capitoline Museums. Adam Lowe, the founder of the Factum Foundation, tells me more.Yoko Ono: Music of the Mind, Tate Modern, until 1 September; K20, Kunstsammlung Nordrhein Westfalen, Düsseldorf, Kunstsammlung Nordrhei

As she stages a non-stop reading of Hannah Arendt’s The Origins of Totalitarianism for five days at the Hamburger Bahnhof in Berlin, Tania Bruguera reflects on growing concerns about the censorship of artists in Germany in relation to the Israel-Hamas war. She also discusses the comments made by Ai Weiwei this week that censorship in the West was now “exactly the same” as in Mao’s China. The Courtauld in London this week opened an exhibition of the monumental charcoal drawings made by Frank Auerbach in the 1950s and early 1960s, and we take a tour of the exhibition with the show’s curator Barnaby Wright. And this episode’s Work of the Week is Mihrdukht Aims Her Arrow at the Ring, a folio from the Hamzanāma (Story of Hamza). Made in India in around 1570, during the Mughal period, it is one of the works acquired by the British painter Howard Hodgkin in a lifetime of collecting Indian art. The collection is the subject of an exhibition at the Metropolitan Museum of Art in New York, which opened this week. Navina

This week: Adriano Pedrosa, the artistic director of the 60th Venice Biennale, on his exhibition, Foreigners Everywhere. As he announces the themes, concepts and the list of artists in the show, we speak to the Brazilian curator about his plans. Hugely popular immersive art experiences are popping up across the world from London to Las Vegas, Tokyo and Abu Dhabi, and we discuss this phenomenon and its implications for museums and galleries with Chris Michaels—an art and technology consultant and former director of digital, communications and technology at the National Gallery, London. And this episode’s Work of the Week is Barbara Kruger’s Untitled (Forever), an installation first made in 2017 and now on view in the Serpentine South gallery in London, where Kruger’s career survey arrived this week after spells in Chicago, Los Angeles and New York. Hans Ulrich Obrist, the Serpentine Galleries’ artistic director, explores the installation.The 60th Venice Biennale: Foreigners Everywhere, Giardini and Arsenale, V

This week: masters week in New York—can the market for historic works be revived? Scott Reyburn, a market reporter for The Art Newspaper, has for some time been exploring the decline in the trade for Old Master paintings. He looks ahead to the auctions in Masters Week in New York, which begin this weekend. In India on Monday, the prime minister Narendra Modi inaugurated a vast temple to the Hindu god Ram in the city of Ayodhya. The temple replaces a 16th-Century mosque that was destroyed by Hindu mobs in 1992, an event that provoked riots in which nearly 2,000 people died, most of them Muslim people. Our deputy art market editor and regular correspondent in India, Kabir Jhala, is in Mumbai, and joins us to discuss this pivotal issue in modern Indian history, what it means ahead of India’s general election in the spring, and whether it is affecting the Indian art market. And this episode’s Work of the Week is Madame déménage (1867), a political cartoon by the French artist Honoré Daumier that was deemed so pro

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

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 Al

It’s the final episode of 2023 and so, as always, it’s our review of the year. Host Ben Luke is joined by Louisa Buck, The Art Newspaper’s contemporary art correspondent, based in London, and Ben Sutton, editor, Americas, based in New York, to discuss the big art and heritage news stories of the year, from rows over the Israel-Hamas war to thefts at the British Museum and the battle for art-fair supremacy between Art Basel and Frieze. Plus, we discuss the shows and works that made the biggest impact in 2023, from Jaune Quick-to-See Smith at the Whitney Museum of American Art to Philip Guston in Washington and London and Vermeer in Amsterdam to Faith Ringgold in Paris. 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

The tragic human cost of the bombardment of the Gaza Strip in the Israel-Hamas war is well documented. What is now becoming clear is how many historic buildings and sites have also been destroyed. We talk to Sarvy Geranpayeh, a correspondent for The Art Newspaper in the Middle East, about the fate of heritage in Gaza. As a huge exhibition of the work of Emily Kam Kngwarray, perhaps the most celebrated of all Indigenous Australian artists, opens at the National Gallery of Australia in Canberra, we speak to the show’s curators Kelli Cole and Hetti Perkins, about her life and work. And this episode’s Work of the Week is a manuscript written by Paul Gauguin just months before he died in French Polynesia—Martin Bailey, our London correspondent, tells us more about the document, which has been acquired by The Courtauld in London.Emily Kam Kngwarray, National Gallery of Australia, Canberra, 2 December-28 April 2024 Hosted on Acast. See acast.com/privacy for more information.

This week: The Art Newspaper’s editor, Americas, Ben Sutton discusses redundancies and ticket price-hikes at several museums across the US, and what it tells us about the economic climate for American museums in the wake of the pandemic. After a troubled 15th edition in 2022, Documenta—the influential exhibition that takes place twice a decade in Kassel, Germany—is at the centre of another controversy. The entire committee intended to appoint its artistic director has resigned following disputed allegations of antisemitism against one of the panel. Our correspondent in Germany, Catherine Hickley, tells us more about this and the wider crisis in the German art world relating to the war in Israel and Gaza. And this episode’s Work of the Week is Ronin (1963), a sculpture by the Singaporean-British artist Kim Lim. The work is part of the first survey of Lim’s work at a British gallery since 1999, at The Hepworth Wakefield. Marie-Charlotte Carrier, the curator of the show, tells us more about Lim’s life and art.To

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

This week: live art and activism. Performance art has long been used as a vehicle for protest and political activism and now, in its tenth edition, the Performa Biennial in New York has a new programme dedicated to artists exploring the subject. Protest and Performance: A Way of Life, which started as part of the 19-day festival this week, features eight events involving artists from across the world but with particular links to the Middle East, While it was programmed months ahead of the present war in Gaza, it has inevitably gained further relevance. We talk to Defne Ayas, the senior program advisor, and Kathy Noble, the senior curator at Performa, about the programme. In the UK, the National Trust, which looks after historic buildings and landscapes across Britain, has become the subject of a row between its current management and campaigners who argue that it has strayed from its essential remit. The Art Newspaper’s associate digital editor, Alexander Morrison, speaks to Martin Drury, a former director-ge

As global political leaders, key figures in the tech industry and academics meet at Bletchley Park in the UK for a two-day summit on artificial intelligence— discussing in particular the risks of these new technologies and how they could be mitigated—we look at a project that reflects AI’s extraordinary potential. The Vesuvius Challenge aims to use AI to unlock the texts in the papyrus scrolls that were carbonised when the Roman city of Herculaneum was covered in ash and pumice after the eruption of the Vesuvius volcano in 79 AD. Brent Seales, the computer scientist behind the project, discusses the technologies involved and his optimism for a positive outcome. Then, Andrew Wallace-Hadrill, director of research and honorary professor of Roman Studies at Sidney Sussex College, Cambridge, tells us about Herculaneum and the Villa of the Papyri where the scrolls were recovered, and considers what the papyri might contain. In modern-day Italy, the country’s culture minister has designated Pietrangelo Buttafuoco—a

This week: the first Kyiv Biennial since Russia’s invasion of Ukraine last year is taking place in various locations across the wartorn country as well as a host of neighbouring European states. We talk to the co-curator, Georg Schöllhammer, about this year’s event. As refugees and displaced people continue to dominate the news, a global sound art project, Migration Sounds, aims to explore and reimagine the sounds of human migration and settlement. We speak to Stuart Fowkes, the founder of Cities and Memory, who has conceived the project with the University of Oxford’s Centre on Migration, Policy and Society (Compas). And this episode’s Work of the Week is Rebirth of a Nation, a mural made for Brixton Underground Station in London by the Ethiopian-Italian artist Jem Perucchini, which is unveiled next week. Jessica Vaughan, the senior curator of Art on the Underground, tells us about the commission.The Kyiv Biennial continues to unfold into 2024, visit 2023.kyivbiennial.orgCities and Memory’s Migration So

This week: it’s the second year of Paris +, the event that has taken over from Fiac as the leading French art fair. How is Art Basel’s French flagship faring amid geopolitical turmoil and economic uncertainty, and is Paris still on the rise as a cultural hub? We speak to Georgina Adam, an editor-at-large at The Art Newspaper, and Kabir Jhala, our deputy art market editor, who are in Paris, to find out. The largest ever exhibition of the work of the Japanese photographer Hiroshi Sugimoto opened last week at the Hayward Gallery in London, before travelling to Beijing and Sydney next year. We talk to its co-curator Thomas Sutton. And this episode’s Work of the Week is La femme-cheval or the Horse-Woman, a painting made in 1918 by the French artist Marie Laurencin. She is the subject of a major survey, called Sapphic Paris, opening this week at the Barnes Foundation in Philadelphia in the US. Cindy Kang, who co-curated the exhibition, tells us more about this landmark work in Laurencin’s life.Paris +, 20-22 Octob

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 caree

The looted Ethiopian icon, AI copyright debate in US, the end of China’s museum boomThis week: The Art Newspaper’s London correspondent Martin Bailey tells us about the Kwer’ata Re’esu, a European painting of Christ that became a revered icon in Ethiopia before being looted by an agent for the British Museum in the 19th century. Martin’s colour photographs of the work—which has been stored in a vault in Portugal—might help us to identify its maker and prompt new calls for the icon’s return to Ethiopia. On Monday this week, campaigners in the US staged an AI Day of Action, amid mounting concerns over the exploitation of artists’ work by corporations behind powerful artificial intelligence tools. We talk to our reporter Daniel Grant about renewed calls for the US Congress to enact a law that would ban corporations from copyrighting art made by AI. And as China’s economy struggles, some museums in the country are closing or scaling down their ambitions. We talk to our correspondent in China, Lisa Movius, about h