The Art Angle

• Trump: Cultural Offensive or Offensive Culture?

  To say that the last few months have been chaos in the United States would most definitely be an understatement. Since Donald J. Trump's return to office in January, an angry culture war, divisive policies, and a seemingly endless barrage of executive orders has become the new normal. His office has sought to upend the relationship of government to culture, with no signs of slowing down. From cancelling humanities grants to fund a "heroes" sculpture garden, to calling for the decimation of the Institute of Museum and Library Services, to personally making himself the boss of the Kennedy Center, and shuttering DEI offices across the country, Trump is on a mission to upend the cultural landscape as we know it. It is very hard to keep up with the onslaught of changes, but one person who has is art critic and journalist Brian Boucher, who has written story after story for Artnet about the unfolding events. As we approach the end of Trump’s first 100 days at the end of this month, we asked Boucher to join us on the Art Angle podcast to discuss how this administration has, and will continue to enact changes that put the arts at serious risk.

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• The Rise of the Red-Chip Art World

  In a recent essay, Artnet writer Annie Armstrong spotlighted a chaotic new force in the art world: red-chip art. It’s the brash, chrome-dipped, algorithm-boosted cousin of blue-chip art—and it’s booming. In her latest essay, Annie sketches out its archetypal collector: a guy barreling down the highway in a Cybertruck, checking his crypto wallet, queuing up a Joe Rogan episode, and racing to the next art opening—maybe an Alec Monopoly show, maybe a MSCHF drop. Red-chip art, as Annie defines it, is more than a market category—it’s a mood. On The Art Angle this week, she joins Senior Editor Kate Brown to unpack this sensibility, tracing its fanbase from crypto bros to Kanye West, and its canon from KAWS’s Companions to Daniel Arsham’s sculpture of Mark Zuckerberg’s wife in Tiffany blue. And yes, as Annie points out, red-chip art is not not related to Trumpism.

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• What’s Holding Women Back in the Arts—And How Can We Fix It?

  This week, we’re taking on a subject that affects the majority of the arts workforce— gender inequity in the industry. Women make up the backbone of the art world, but they continue to face barriers when it comes to work-life balance, pay, and career progression. So, what does the data actually tell us about the state of the industry? And, more importantly, what can be done to change things for the better? To answer those questions, we’re unpacking key findings from a major survey conducted by Artnet News in collaboration with the Association of Women in the Arts (AWITA). More than 2,000 people responded to the call, with an additional 140 participating in a follow-up survey, ultimately providing an informative look at how women experience the art world—from hiring and pay to mentorship and bias. Joining Editor-In-Chief Naomi Rea, to break it all down is our News Editor Margaret Carrigan, who has been leading this project since last year. Margaret recently moderated a panel discussion on the topic in London with three industry powerhouses who shared their own experiences: gallerist Sadie Coles, India Phillips from Bonhams, and Clarrie Wallis, director of public institution Turner Contemporary. As the editor of our four-part editorial series on the findings, linked below, Margaret is perfectly positioned to break down the statistics and offer actionable advice on how the industry can do better for women, today.

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• Re-Air: Why Is Rococo Art Making a Comeback?

  When Madame du Barry, King Louis XV’s last mistress, pleaded for “just a little moment more” before her execution in 1793, in the throes of the French Revolution, she seemed to capture the fleeting pleasures and indulgence of the Rococo age. Artnet Editor Katie White eloquently described this moment before du Barry’s death in the opening of a recent essay, exploring how, centuries later, the aesthetic of whimsy, romance, and unapologetic luxury is making a bold return. She calls it Neo-Rococo. So what is Neo-Rococo, really? It’s a contemporary movement that merges the delicate pastels, ornamental elegance, and sensuality of 18th-century Rococo with modernist abstraction and feminist perspectives of contemporary art. Artists like Flora Yukhnovich, Michaela Yearwood-Dan, and Francesca DiMattio are key figures in this revival. They draw on the decorative roots of Rococo while addressing the complexities of today’s world. On this episode of The Art Angle, Katie joins Senior Editor, Kate Brown, to discuss this fascinating resurgence of a centuries-old aesthetic sensibility, and how it extends beyond the art world into broader pop culture. What lessons can we learn from this era of late Baroque history? Quite a few as a turns out. And some surprising ones—these artists are actually subverting the escapist art movement to draw out some interesting questions about beauty and femininity.

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• Who's Behind the Changing Tastes in the Art Market?

  For the latest edition of the Artnet Intelligence Report, which is now free to download, Artnet columnist Katya Kazakina wrote a wide-ranging cover story about the state of play in the art industry. Titled “New Money, New Taste,” it charts a revolution that is underway in the market, amid what has been dubbed the Great Wealth Transfer. Economists, Kazakina reports, believe that $84 trillion in assets will change hands over the next 20 years—that's trillion... with a T. Gen Xers will inherit $30 trillion, millennials $27 trillion, and Gen Zers $11 trillion, according to one study. (Huge amounts of money!) She writes, "Their values, taste, and investment decisions will help determine the next cohort of top artists—who’s in and who’s out, who will endure and who will not." Could longstanding kings of auction houses, like Andy Warhol and Pablo Picasso, be dethroned? Will new names—and new types of material—arise to take their place? Everyone is guessing, aiming to protect their assets while angling for business. All of this is happening against the backdrop of an art market marked by intense uncertainty, following some very tough years, as data in the Intelligence Report shows. The whole industry feels unsettled and off-kilter, and firms of all sizes are trying to figure out how to navigate the situation. This week on the podcast, Editor of Artnet News Pro, Andrew Russeth, speaks to Kazakina about her reporting.

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