Rank #1: No. 25: Making It in the Art World If You’re Not a Rich Kid
This week, we’re rebroadcasting a favorite episode from earlier this year. As the New York Times recently reported, twenty-somethings pursuing a career in art and design are the most likely to receive financial assistance from parents; they also receive the largest sums. On this episode, we’re joined by Sandra Jackson-Dumont, chair of education at the Metropolitan Museum of Art, and Naiomy Guerrero, creator of GalleryGirl.nyc, to discuss the role money plays in art world careers. How does the plethora of unpaid internships and low-paying jobs limit inclusivity? And what steps can we take to change the system?
Rank #2: No. 12: Motherhood, Children, and Art
This summer, artist Marina Abramović sparked fierce debate with her statement: “In my opinion [having children is] the reason why women aren’t as successful as men in the art world.” In this week’s episode, we ask—what can be done to finally debunk the myth that child-rearing and a successful career are incompatible? Then we consider the other side of the motherhood equation—children, and, more specifically, how parents can help them cultivate an appreciation of art. What impact does artmaking have on children and their development? Read more: https://www.artsy.net/article/artsy-editorial-the-artsy-podcast-no-12-motherhood-children-and-art
Rank #3: No. 14: Art History in Crisis
This week, we dissect the recent decision to eliminate art history A-level tests for high school students in the U.K. beginning in 2018. The announcement sparked outrage and debate among scholars, critics, and teachers in England—but it also raised bigger questions about how the subject is taught. Read more: https://www.artsy.net/article/artsy-editorial-the-artsy-podcast-no-14-art-history-in-crisis
Rank #4: No. 74: The State of the Art Market in 2018 So Far
Nearly three months into 2018, several major milestones of the art market calendar have already come and gone—including the London auctions and the release of the The Art Market | 2018 report earlier this month. Meanwhile, in China, Art Basel in Hong Kong kicked off this week. On this episode, our editors sit down to talk about what early art market signals this year are telling us about the health of the trade and what it could all mean for the future of the industry.
Rank #5: No. 10: Does Disliking an Artist Mean You Can’t Like Their Work?
Rikers Island, New York’s notorious jail, houses thousands of men and women awaiting trial or convicted of short sentences. We discuss the neurological underpinnings of art therapy in this environment, the difficulties that therapists experience teaching in jails, and how programs such as this can provide much-needed healing, as well as concrete life skills, for inmates both while in the jail and in the outside world upon their release. Next, we look at German painter Georg Baselitz and ask: Should his misogyny affect our appreciation of his work? In 2013, the artist remarked that “women don’t paint very well,” setting off a firestorm of critique but, for many at least, not diminishing the artist’s place in the art-historical canon. So how do we square an artist’s biography and beliefs with their work? Can the two be separated? Read more: https://www.artsy.net/article/artsy-editorial-the-artsy-podcast-no-10-does-disliking-an-artist-mean-you-can-t-like-their-work
Rank #6: No. 50: Why Rembrandt’s Night Watch Is So Famous
There are certain artworks that almost everyone in the world knows—the Mona Lisa, Starry Night, The Scream. What most people can’t explain is the reason why these particular paintings are more famous than thousands of other inventive and moving works of art that fill museums worldwide. On this special 50th episode, we chart one painting’s rise to fame: The Night Watch (1642), Rembrandt van Rijn’s 17th-century masterwork. It's a centuries-long story that includes, among other things: a devastating bankruptcy, slanderous rumors, a swift rise to fame, and, at one point, Rembrandt’s iconic canvas slashed into ribbons. To help us answer this question, we enlisted the help of a slew of experts: Rijksmuseum curator Pieter Roelofs, author Derek Thompson, Queen’s University professor Stephanie Dickey, executive vice president of the Andrew W. Mellon Foundation Mariët Westermann, and artist Stefan Kasper.
Rank #7: No. 21: We Need to Rethink Feminist Art
With 2016 came a fever pitch of women-centric exhibitions, but are these shows still too narrow in representation? On this episode, we argue that the art world must embrace a feminism that transcends boundaries of race, gender, and class.
Rank #8: No. 30: Why the Art World Fell in Love with the White Cube
The term “white cube” is ubiquitous in today’s art world. But who invented that label? And when did this method of displaying art first appear? On this episode, we trace the evolution of the white cube from the earliest public museums in Europe to 1930s New York.
Rank #9: No. 18: Does Size Matter?
A number of contemporary artists are turning to works of art that could fit easily in your palm or your pocket. But experiments with size aren’t new—on this episode, we delve into the history of miniature art, from the Victorian era through to today’s Instagram culture.
Rank #10: Bonus: How to Start Collecting Art
For the new collector, the proliferation of art fairs, galleries, and online marketplaces can be overwhelming to navigate. What’s the right way to break into collecting? (And what are the faux pas to avoid?) How exactly do gallerists determine the price of the work on display? And what’s the best place to buy art?
Rank #11: No. 69: How Independent Curators Power the Art World
Almost everything can be “curated” these days—playlists, outfits, gift baskets, even salads. So what does it really mean to be an independent curator? On this episode, we’re joined by curator Jacqueline Mabey to discuss the ups and downs of a career that’s not tied to a single institution.
Rank #12: No. 24: Why We Fund the Arts
This week, we discuss the broader ideological implications of the fight against the NEA and how the agency actually works with a meager budget to bring art across America—while also helping organizations raise the private dollars some think make the NEA superfluous. Later, we discuss the role arts funding plays in the broader economy and why the NEA could be more important to the art market than the Dow Jones.
Rank #13: No. 22: The Next Great Gallery Could Start in Your Apartment
As the art world turns to alternative spaces to display work, some are bringing artists into the most personal of spaces: their homes. On this episode, we discuss the nuts and bolts of setting up a apartment gallery—from misconceptions about profitability to choosing the perfect name. Read more: https://www.artsy.net/article/artsy-editorial-artsy-podcast-22-great-gallery-start-apartment
Rank #14: No. 17: What’s in a Frame?
This week, we take you through the history of the frames market—from the 15th century, when a frame could be more valuable than the painting itself, to the 20th century, when their popularity and price tags dwindled with the rise of modern art.
Rank #15: No. 71: What the Obama Portraits Tell Us about Art and Politics
The official portraits of former United States President Barack Obama, painted by Kehinde Wiley, and former First Lady Michelle Obama, by Amy Sherald, were presented at the National Portrait Gallery in Washington, D.C. earlier this month. Upon unveiling, the portraits became two of the most widely-debated works of contemporary art in years. On this episode, we sat down with curator Eugenie Tsai and writer Antwaun Sargent to discuss the impact and legacy of these two historic portraits.
Rank #16: No. 28: Why This Year’s Whitney Biennial Is a Resounding Success
The Whitney Biennial’s 79th edition opens to the public on March 17th. It has been deemed a resounding success by many, managing to tackle America’s issues of race and class without gimmicks or oversimplification. On this episode, we discuss what curators Christopher Y. Lew and Mia Locks did right.
Rank #17: No. 16: Can Ai Weiwei’s Art Change the World?
Chinese artist and political dissident Ai Weiwei opened not one, not two, but four new shows in New York City last week. In this episode, we delve into “Laundromat,” on view at Jeffrey Deitch—the latest work by Ai to engage with the European refugee crisis. And we ask: Can artists move the needle on public reaction to humanitarian crises? Where we’ll be drinking white wine in the art world this week: “Pipilotti Rist: Pixel Forest” at the New Museum, on view through Jan, 15th, 2017 “Marilyn Minter: Pretty/Dirty” at the Brooklyn Museum, on view through April 2nd, 2017 “Gay Gotham,” on view through Feb. 27th, 2017, and “Activist New York” at the Museum of the City of New York
Rank #18: No. 58: What’s Driving Artists to Become More Professional?
In 2012, the median income of professional artists with art degrees in New York City was $25,000. In 2015, the chance that an artist living in the U.S. would receive a solo exhibition at MoMA was 0.0006%. The odds are stacked against artists trying to make it in the art world. On this episode, we’re joined by Heather Bhandari—co-author of the book Art/Work, a professional practices guide—to discuss the growing number of resources for artists looking to establish and run a successful practice.
Rank #19: No. 61: When Georgia O’Keeffe Went to Hawaii to Paint Pineapples for Dole
This month on the Artsy Podcast, we’re translating four of our readers’ favorite art-historical stories into audio. On this episode: when Georgia O’Keeffe traded desert vistas and bleached cow bones for the verdant valleys and electric blue seas of Hawaii.
Rank #20: No. 48: Jeffrey Deitch on Four Decades in a Changing Art World
Art and finance have long been intertwined. As early as the Italian Renaissance, a Florentine banking family supported Michelangelo and Botticelli in making their masterpieces. On this episode, we fast-forward a few centuries to 1980s New York City as Jeffrey Deitch explains how he convinced both bankers and art world denizens to buy into Citibank’s new art services department—an innovation that would transform the art market into what we know today.