This week, we talk to Cecilia Alemani, the artistic director of the Venice Biennale for art, which opens in April, about her show, The Milk of Dreams. She discusses the story by the Surrealist artist Leonora Carrington that gives the Biennale its title, the “time capsules” of historic art that punctuate the exhibition, the thematic structure, and the fact that it is the first Venice Biennale featuring a majority of women artists. For this episode’s Work of the Week, Martin Bailey visits the Courtauld Gallery, where 15 of Vincent van Gogh’s self-portrait paintings have been gathered for a once-in-a-generation show. He talks to the curator Karen Serres about Self-Portrait with Bandaged Ear (1889). And at the Belvedere in Vienna, a new exhibition explores the relationship between Salvador Dalí and Sigmund Freud—Ben Luke talks to Stephanie Auer from the museum about Dalí’s obsession with the father of psychoanalysis, his attempts to meet Freud in Vienna, and what happened when they finally encountered each other in London. Hosted on Acast. See acast.com/privacy for more information.

Venice Biennale, Van Gogh’s self-portraits, Dalí and Freud

From breaking news and insider insights to exhibitions and events around the world, the team at The Art Newspaper picks apart the art world's big stories with the help of special guests. An award-winning podcast hosted by Ben Luke. Hosted on Acast. See acast.com/privacy for more information.

Arts

Literature

Performing Arts

Design

Food

Fashion & Beauty

Visual Arts

We take a tour of Tate Britain’s new exhibition, Now You See Us, featuring more than 100 women artists who worked between the 16th and 20th centuries, with Tabitha Barber, its curator. The Dia Art Foundation has reached its half century and its director, Jessica Morgan, tells us how it has changed in that time, and especially how it has radically expanded the range of artists it shows and collects. We also discuss the new commission at Dia Beacon by Steve McQueen. And this episode’s Work of the Week is one of the few record-breaking paintings in a relatively middling auction week in New York: Martin Wong’s Portrait of Mikey Piñero at Ridge Street and Stanton (1985), which sold for more than $1.6m (with fees) on Tuesday evening at Christie’s. Barry Blinderman, who sold the work in 1985 from his Semaphore gallery in New York, tells us more about the painting and the extraordinary circumstances of its making.
Now You See Us: Women Artists in Britain 1520-1920, Tate Britain, London, until 13 October.
Steve McQueen: Bass, Dia Beacon, until 12 May 2025. Hosted on Acast. See acast.com/privacy for more information.

Tate’s historic women artists show, Dia at 50, Martin Wong’s record-breaking painting

We talk to The Art Newspaper’s reporter Sarvy Geranpayeh about her conversations with six Palestinian artists about their daily lives amid Israel’s ongoing military offensive in Gaza. Frank Stella, one of the key artists in the history of American abstraction, has died, aged 87. We speak to Bonnie Clearwater, the director and chief curator of the NSU Art Museum in Fort Lauderdale, Florida, who worked with Stella on two landmark shows. And as Spring finally arrives in London, this episode’s Work of the Week is, fittingly, Vanessa Bell’s View into a Garden (1926). It features in an exhibition opening next week at the Garden Museum in London, called Gardening Bohemia: Bloomsbury Women Outdoors. Emma House, the curator at the museum, tells me more.
Glory of the World: Color Field Painting (1950s to 1983), NSU Art Museum Fort Lauderdale, US, until 25 August. Frank Stella: Recent Sculpture, Deitch Projects, New York, until 24 May.
Gardening Bohemia: Bloomsbury Women Outdoors, Garden Museum, London, 15 May-29 September. Hosted on Acast. See acast.com/privacy for more information.

Gaza: artists’ stories, Frank Stella remembered, Vanessa Bell’s garden view

After years of decreasing public funding, the lingering effects of the Covid pandemic and enduring questions around the ethics of corporate sponsorship, UK museums are facing unprecedented financial pressures. Some commentators are suggesting that the time has come to abandon the policy of free admission to museums that is viewed by many as key to the cultural fabric of the UK. Among those arguing for charging is the critic and broadcaster Ben Lewis, who joins Ben Luke to discuss the issue. This week, the British Museum opened the exhibition Michelangelo: the Last Decades. It focuses on the period after 1534, when Michelangelo left his native Florence for Rome, never to return, and embarked on many of his most ambitious projects. We take a tour of the show with its curator, Sarah Vowles. And this episode’s Work of the Week is Maria Blanchard’s Girl at Her First Communion (1914). The painting features in a new exhibition at the Museo Picasso in Málaga. Its curator, José Lebrero Stals, tells us more about this underappreciated Spanish artist, who was at the heart of the Parisian avant garde in the 1910s and 20s.
Michelangelo: the Last Decades, British Museum, until 28 July.
María Blanchard: A Painter in Spite of Cubism, Museo Picasso Málaga, Spain, until 29 September.
LAST CHANCE subscription offer: subscribe for as little as 50p per week for digital and £1 per week for print and digital, or the equivalent in your currency. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

Should UK museums charge for entry? Plus, Michelangelo’s last decades and Maria Blanchard

The last painting made by Gustav Klimt, left on his easel when he died in 1918 of illnesses relating to the Spanish flu epidemic of that year, has sold at auction in Vienna for €35m including fees. But much remains unclear about the picture, including its sitter, its commissioner and what happened to it in the Second World War. Ben Luke talks to Catherine Hickley, The Art Newspaper’s museums editor, about whether this murky provenance contributed to its relatively low price for a Klimt in the saleroom. A retrospective of the pioneering German artist Rebecca Horn opens this week at the Haus der Kunst in Munich, and we talk to Jana Baumann, its co-curator, about the show. And this episode’s Work of the Week is Mont Sainte Victoire, one of dozens of paintings made by Paul Cézanne of the towering limestone peak near Aix-en-Provence in France. Painted in 1886-87, it is in the collection of the Phillips Collection in Washington, D.C. Elizabeth Steele, the Phillips’s Head of Conservation, describes how she revealed the painting from a century of discoloured varnish and dust as it goes on view in the exhibition Up Close with Paul Cezanne, which is at the Phillips until 14 July.
Rebecca Horn, Haus der Kunst, Munich, Germany, 26 April-13 October
Up Close with Paul Cezanne, Phillips Collection, Washington D.C., until 14 July.
Subscription offer: subscribe to The Art Newspaper for as little as 50p per week for digital and £1 per week for print and digital, or the equivalent in your currency. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

Klimt’s last picture sells for €35m, Rebecca Horn, a Cézanne restored

We are back in Venice for the latest edition of the biggest biennial in the world of art. The 60th Venice Biennale comprises an international exhibition featuring more than 300 artists, dozens of national pavilions in the Giardini—the gardens at the eastern end of the city—and the Arsenale—the historic shipyards of the Venetian Republic—and host of official collateral exhibitions and other shows and interventions across Venice. The Art Newspaper’s contemporary art correspondent, Louisa Buck, editor-at-large Jane Morris and host Ben Luke review the international exhibition, Foreigners Everywhere/Stranieri Ovunque, curated by the Brazilian artistic director, Adriano Pedrosa. We talk to artists and curators behind five national pavilions—Jeffrey Gibson in the US pavilion, John Akomfrah in the British pavilion, Romuald Hazoumè in the Benin pavilion, Gustavo Caboco Wapichana, the curator of the Hãhãwpuá or Brazilian pavilion, and Valeria Montii Colque in the Chilean pavilion—about their presentations. And we like to end our Venice specials by responding to an example of the historic work that made la Serenissima one of the world’s great centres for art. So for this episode’s Work of the Week, Ben Luke gained exclusive access to one of the most significant paintings in Venetian history: the Assunta or Assumption of the Virgin made between 1516 and 1518 by Titian. Since the last Biennale in 2022, the Assunta has been unveiled after a four-year conservation project, funded by the charity Save Venice. We spoke to the man who restored this incomparable masterpiece, Giulio Bono, right beneath Titian’s painting.
The Venice Biennale, 20 April-24 November. Listen to the interview with Adriano Pedrosa in the episode of this podcast from 2 February.
The website that Giulio Bono mentions, which will present the findings of the conservation of Titian’s Assunta in detail, will go online later this year.
Save Venice, savevenice.org.
Subscription offer: subscribe to The Art Newspaper for as little as 50p per week for digital and £1 per week for print or the equivalent in your currency. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

Venice Biennale, Van Gogh’s self-portraits, Dalí and Freud

Download our free app to listen on your phone