This week: in the final episode of this season, James Goodwin, a specialist on the art market and its history, tells us about what high inflation and interest rates mean for the art market and what lies ahead. As Spain heads to the polls in July, we talk to Emilio Silva, president of the Association for the Recovery of Historical Memory in Madrid. What could the election mean for the controversial Spanish laws of Historical Memory and Democratic Memory relating to the Civil War of 1936 to 1939 and the period of Francisco Franco’s fascist dictatorship? And this episode’s Work of the Week is a project by the Swedish duo Goldin + Senneby. The work, called Quantitative Melencolia, involves recreating the lost plate for Albrecht Dürer’s famous engraving Melencolia I. It is part of the exhibition Economics: The Blockbuster, which opens this week at the Whitworth Art Gallery in Manchester, UK.
Economics the Blockbuster: It’s not Business as Usual, Whitworth Art Gallery, until 22 October. The Manchester International Festival, until 16 July.
The Week in Art is back on 1 September. Hosted on Acast. See acast.com/privacy for more information.

Art market and stagflation; Spain’s historical memory; Dürer plate remade by Goldin + Senneby

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.

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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.
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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 special

This week: after 80 years in business, Marlborough Gallery, one of the most historic commercial galleries in London, New York and beyond, has announced that it is closing. Host Ben Luke talks to Anny Shaw, a contributing editor at The Art Newspaper, about what happened and what, if anything, it tells us about the market. The New Mexico-based sculptor Rose B. Simpson revealed newly commissioned public art works in Madison Square Park and Inwood Hill Park in New York on Wednesday, called Seed. The Art Newspaper’s editor, Americas, Ben Sutton went to meet her. And this episode’s Work of the Week is the final painting ever made by Caravaggio: The Martyrdom of Saint Ursula, made in 1610. The painting is travelling to London for an exhibition opening at the National Gallery next week, called The Last Caravaggio. Francesca Whitlum-Cooper, the gallery’s acting curator of later Italian, Spanish and 17th-century French Paintings and the curator of the exhibition, tells us more.
marlborougharchive.com.
Rose B. Simpson: Seed, Madison Square Park and Inwood Hill Park, New York, until 22 September. The Whitney Biennial: Even Better than the Real Thing, Whitney Museum of American Art, New York, until 11 August. Rose B. Simpson: Strata, Cleveland Museum of Art, Ohio, US, 14 July-13 April 2025; Rose B. Simpson: LEXICON, De Young, San Francisco, US, 16 November-29 June 2025.
The Last Caravaggio, National Gallery, London, 18 April-21 July
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.

Marlborough Gallery closes, Rose B. Simpson in New York, Caravaggio’s final painting

The convicted art fraudster Inigo Philbrick is out of prison and possibly seeking a return to art dealing. How is that possible? Tim Schneider, The Art Newspaper’s acting art market editor, tells us about Philbrick’s story, why the art trade is a natural habitat for fraud, and why a criminal past need not lead to art-world banishment. In the wake of the first Art Basel Hong Kong art fair to take place after the newly instated Article 23 security law, our associate digital editor Alexander Morrison talks to our correspondent in China, Lisa Movius, about the law’s impact on artists, museums and others in the art world now and in the future. And this episode’s Work of the Week is a sword associated with Ranjit Singh, the Maharaja who is the subject of a major exhibition opening next week at the Wallace Collection in London. Davinder Toor, the co-curator of the show, tells us more.
Ranjit Singh: Sikh, Warrior, King, Wallace Collection, London, 10 April-20 October Hosted on Acast. See acast.com/privacy for more information.

Art market and stagflation; Spain’s historical memory; Dürer plate remade by Goldin + Senneby

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