The Art Newspaper Weekly

This week, we look at how technologies like digital scanning and artificial intelligence (AI) are being used to create facsimiles of historic paintings. We talk to Adam Lowe of the Factum Foundation, leaders in the field of digital heritage preservation, ahead of three live discussions about technology and heritage on The Art Newspaper's YouTube channel on 1,2 and 3 May.Also this week, we talk to Sophie Matisse, the great-granddaughter of Henri, about following in his—and her great-grandmother Amélie’s—footsteps for a new BBC film. And in a slight twist on our Lonely Works series, the painter Lisa Yuskavage tells us about missing the great Van Eyck exhibition in Ghent because of the coronavirus. See acast.com/privacy for privacy and opt-out information.

This week, we look at museums in different parts of the globe: what’s their future in a world changed by the coronavirus?The doors of museums have slammed shut over recent weeks as Covid-19 has locked down countries across the world. So this week, we’re asking key figures in museums in the UK, the US and China: what happens next? We speak to Frances Morris, the director of Tate Modern, to Dan Weiss, the president and chief executive officer of the Metropolitan Museum of Art, and to Philip Tinari, the director of the UCCA Center for Contemporary Art in Beijing—leaders within different museum cultures, with different challenges ahead. We also have the latest in our Lonely Works series, in which the Turner Prize-winning artist Mark Wallinger explores Jackson Pollock’s Autumn Rhythm (Number 30), in the Met. You can see an image of Autumn Rhythm as we discuss it at theartnewspaper.com/podcasts. See acast.com/privacy for privacy and opt-out information.

A veritable Juddaganza: we focus on an artist who, before the coronavirus (Covid-19) forced museums and galleries to close, was set to be the subject of three exhibitions in New York this spring, Donald Judd. We talk to Ann Temkin, curator of the big survey at the Museum of Modern Art in New York, the online version of which opens at moma.org on 23 April. We meet Flavin Judd, the artist’s son, to discuss the exhibition of his dad’s work at David Zwirner, which Flavin curated, and Judd’s artistic legacy. And in a special contribution, Roberta Smith, co-chief art critic at the New York Times reads the eulogy she gave at Judd’s memorial service in 1994 for the first time since that day. Meanwhile, in the latest of our series exploring lonely works in museums that have closed due to the coronavirus, Donna De Salvo senior adjunct curator of special projects at the Dia Foundation, chooses Marcel Duchamp’s Étant Donnés, in the Philadelphia Museum of Art. See acast.com/privacy for privacy and opt-out information.

We explore how safe museums are from theft now that they are closed and cities are under lockdown due to the coronavirus. We talk to Martin Bailey about the recent theft of a Van Gogh in the Netherlands, the history of stolen Van Goghs and who steals art and why. We also talk to Vernon Rapley, the director of cultural heritage protection & security at the Victoria and Albert Museum in London, about how safe the museum is as London’s streets remain deserted. Plus, Laura Cumming picks the latest Lonely Work behind closed doors in a museum: Pieter Bruegel the Elder’s Landscape with the Fall of Icarus from the Royal Museums of Fine Arts in Brussels. And we have a special contribution from the artist—and cartoonist for The Art Newspaper—Pablo Helguera. See acast.com/privacy for privacy and opt-out information.

We discuss the present and future of the art market, first with Rachel Pownall, a Professor of Finance at Maastricht University School of Business and Economics, in the Netherlands, who specialises in the art market, and then with our market editors, Anna Brady and Margaret Carrigan. And in the latest in our series of lonely works, focusing on artworks behind the doors of museums that have closed due to the coronavirus, we talk to the artist Sean Scully about Matisse's 1915-16 painting The Moroccans, in the Museum of Modern Art in New York. See acast.com/privacy for privacy and opt-out information.

This week, we explore the devastating effects of the coronavirus (Covid-19) on art communities, and particularly the wealth of self-employed workers in the art world. We hear about the support packages for people working in the visual arts in Germany, we discuss the precarious position of artists in the UK and we hear about a petition highlighting the fact that galleries in New York and their teams of workers may not benefit from the relief initiatives for small businesses recently announced by the New York mayor Bill de Blasio. Plus, we have the latest in our new series in which focus on works behind the doors of museums that have closed due to the coronavirus, this week with Zoe Whitley, the new director of the Chisenhale Gallery in London. Whitley discusses a springtime gem from the Smithsonian American Art Museum, Alma Thomas's Wind and Crepe Myrtle Concerto (1973). See acast.com/privacy for privacy and opt-out information.

We speak to our journalists in the two epicentres of the Covid-19 pandemic thus far: Anna Somers Cocks in Italy and Lisa Movius in China. We hear about their experiences of lockdown, the response of museums and galleries and the effect on the art community, as the two countries enter contrasting moments in the coronavirus crisis. And we begin a new feature, turning the spotlight on works of art normally enjoyed by millions of visitors in museums across the world that are suddenly hanging unseen in empty galleries closed because of the coronavirus pandemic. In the first of the series, we asked the art historian and broadcaster Bendor Grosvenor to choose his "lonely work": Anthony van Dyck’s masterpiece Martin Ryckaert (about 1631), in the Prado Museum in Madrid, which closed indefinitely last week. See acast.com/privacy for privacy and opt-out information.

As the National Gallery opens its show dedicated to Titian's great mythological paintings made for Philip II of Spain, we talk to the gallery's director, Gabriele Finaldi, about making a once impossible curatorial dream a reality, and we take an in-depth tour of the seven paintings in the exhibition with its curator, Matthias Wivel. As museums around the world close, Finaldi also discusses the latest advice from the UK government on COVID-19: business as usual. Plus, the latest art-world news. See acast.com/privacy for privacy and opt-out information.

We pay tribute to the performance art trailblazer Ulay, who died on 2 March—and discuss his years of collaboration with Marina Abramović— with Catherine Wood, Tate Modern’s senior curator of performance art. And we talk to Marc Spiegler, Art Basel’s global director, about the decision to cancel the Hong Kong fair due to the coronavirus outbreak, and the implications of the cancellation. Plus, this week’s top art world stories. See acast.com/privacy for privacy and opt-out information.

Plus, Independent Art Fair's director on the New York's changing gallery landscape See acast.com/privacy for privacy and opt-out information.

Is the dispute between Greece and the British Museum about the Parthenon Marbles about to escalate? A leaked draft of the EU mandate for talks with the UK about the post-Brexit relationship suggests it might. We look at the history of the marbles and what this new development means. Plus, we talk to Shirin Neshat as she unveils her new work at Goodman Gallery in London, and update you on the top art stories of the week. See acast.com/privacy for privacy and opt-out information.

As Frieze Los Angeles opens, we look at the LA art scene, its artist-run galleries and grassroots spaces and ask: does the city need the art-market juggernaut? We also pay tribute to the late LA-based artist John Baldessari. We look at Frieze Projects and its unique Hollywood film-set location. And we explore the latest show at the Metropolitan Museum of Art in New York, Sahel: Art and Empires on the Shores of the Sahara. See acast.com/privacy for privacy and opt-out information.

We visit the Whitechapel Gallery in London to explore their show Radical Figures: Painting in the New Millennium, with the curator Lydia Yee, and talk to one of the ten artists, Tschabalala Self. And we look at the Foundling Museum’s exhibition Portraying Pregnancy: From Holbein to Social Media with the curator Karen Hearn. See acast.com/privacy for privacy and opt-out information.

We look at the story behind the front-page article in our February issue: the discovery that a multi-million dollar Gauguin sculpture purchased by the Getty Museum in Los Angeles is actually not by the artist at all. Plus, we talk to the Canadian First Nations artist Kent Monkman about his monumental paintings at the Metropolitan Museum of Art in New York; and we look at an exhibition about art and food at the Fitzwilliam Museum in Cambridge, UK. See acast.com/privacy for privacy and opt-out information.

We look at the year ahead for galleries, art fairs and auctions, and seek out the big shows in the UK, Europe and the US. See acast.com/privacy for privacy and opt-out information.

2019: the Year in Review by The Art Newspaper Podcasts See acast.com/privacy for privacy and opt-out information.

We take an in-depth look at Maurizio Cattelan, the creator of the banana-and-duct-tape work which caused a sensation at Art Basel in Miami Beach last week, with the critic and broadcaster Ben Lewis. And we talk to three UK comedians—Rob Auton, Jenny Eclair and Annie McGrath—about their contributions to the exhibition Art is the Best Medicine at Fiumano Clase in London, featuring works by a wealth of the UK's top comedy talent. The works are on sale and will raise money for the charity Mental Health UK. See acast.com/privacy for privacy and opt-out information.

The art world has been up in arms this week as Lawrence Abu Hamdan, Helen Cammock, Oscar Murillo and Tai Shani were all announced as the winner of the Turner Prize. We talk to Louisa Buck about the decision and how it might change the award in the future. Plus, we talk to the Miami-born artist Teresita Fernández about her homecoming show at Pérez Art Museum Miami. See acast.com/privacy for privacy and opt-out information.

We talk to Lesley Fitton, the co-curator of the British Museum's blockbuster show on the myth and reality of Troy. And we talk to Jess Worth of Culture Unstained about ongoing protests relating to fossil-fuel companies' sponsorship of arts organisations. See acast.com/privacy for privacy and opt-out information.

As a huge exhibition of Dora Maar's work opens at Tate Modern, we take a tour of the show with the curator, Emma Lewis. Finally, Maar is escaping the shadow of her lover between 1936 and 1945, Pablo Picasso. We also talk to Jann Haworth, the US-born artist who was a key figure in the 1960s pop art scene in Swinging London and was, with Peter Blake and Michael Cooper, the creator of the cover for The Beatles' Sgt Pepper album—though she is often ignored when that seminal image is discussed. Haworth has a retrospective show at the Pallant House Gallery in Chichester, UK. See acast.com/privacy for privacy and opt-out information.