This week, we’re rebroadcasting a favorite episode from earlier this year.

GIPHY’s community curator Ari Spool joins us to break down the process of curating artist-created GIFs. Is there a key to going viral? What do GIFs allow us to express that words might not? And how do these online images fit into centuries of fine art?

Read more: https://www.artsy.net/article/artsy-editorial-giphy-artists-works-viewed-100-million-times

Visitors to this year’s Venice Biennale can stroll through the Pavilion of Shamans—just one example of the increasing presence of shamanism and mysticism in the work of contemporary artists.

This uptick comes amid a reexamination of ideas that were once associated with the countercultural movements of the 1960s and ’70s, including a second look at psychedelics. On this episode, we explore the wider history of shamanic practices across the globe—and how they’ve intersected with the art world throughout the decades.

Visitors to this year’s Venice Biennale can stroll through the Pavilion of Shamans—just one example of the increasing presence of shamanism and mysticism in the work of contemporary artists.

This uptick comes amid a reexamination of ideas that were once associated with the countercultural movements of the 1960s and ’70s, including a second look at psychedelics. On this episode, we explore the wider history of shamanic practices across the globe—and how they’ve intersected with the art world throughout the decades.

On this episode, curators Jessica Cerasi and Kyung An walk us through the ABCs of contemporary art. Each chapter of their new book, Who’s Afraid of Contemporary Art?, is devoted to a different question about this thorny (and often alienating) segment of the art world.

When did contemporary art start—and when will it end? Why was the art world split over Jay-Z’s show at Pace Gallery? And why are exhibition press releases so hard to understand?

On this episode, curators Jessica Cerasi and Kyung An walk us through the ABCs of contemporary art. Each chapter of their new book, Who’s Afraid of Contemporary Art?, is devoted to a different question about this thorny (and often alienating) segment of the art world.

When did contemporary art start—and when will it end? Why was the art world split over Jay-Z’s show at Pace Gallery? And why are exhibition press releases so hard to understand?

Who built the New York art world? Today, the scene is by and large dominated by men. But some of the most prestigious museums, galleries, and salons that fostered the city’s cultural scene in the 1920s and ’30s were founded by women like Peggy Guggenheim and Florine Stettheimer. In this episode, we explore their often-overlooked stories—and discuss why, despite their beginnings, these institutions have long been criticized for a gender gap across both their staffs and collections.

Who built the New York art world? Today, the scene is by and large dominated by men. But some of the most prestigious museums, galleries, and salons that fostered the city’s cultural scene in the 1920s and ’30s were founded by women like Peggy Guggenheim and Florine Stettheimer. In this episode, we explore their often-overlooked stories—and discuss why, despite their beginnings, these institutions have long been criticized for a gender gap across both their staffs and collections.

On February 4th, the New York Times published a front page story entitled “Is the Met Museum ‘a Great Institution in Decline’?” The article ignited a ferocious public backlash against New York City’s most-visited institution and its director and CEO, Thomas P. Campbell. By the end of that same month, Campbell had announced his resignation—making his tenure as director the shortest since the Met’s fourth, Herbert Eustis Winlock, who presided over the institution from 1932 to 1939.

Principal among the issues that led to Campbell’s resignation was a roughly $10 million budgetary deficit (public knowledge for a year or so prior to his resignation), which officials warned could swell to $40 million if immediate action was not taken.

In a conversation with Artsy, days after his July 14th departure from the Met, Campbell was candid about the issues that contributed to that deficit—including his own ambition as director. But he also painted a far more nuanced picture of the circumstances surrounding the major grievances levied against him and the museum: in particular, heavy investment in expanding the museum’s activities in modern and contemporary art and extensive resources put into digital infrastructure to help expand the reach of the United States’s largest museum.

On February 4th, the New York Times published a front page story entitled “Is the Met Museum ‘a Great Institution in Decline’?” The article ignited a ferocious public backlash against New York City’s most-visited institution and its director and CEO, Thomas P. Campbell. By the end of that same month, Campbell had announced his resignation—making his tenure as director the shortest since the Met’s fourth, Herbert Eustis Winlock, who presided over the institution from 1932 to 1939.

Principal among the issues that led to Campbell’s resignation was a roughly $10 million budgetary deficit (public knowledge for a year or so prior to his resignation), which officials warned could swell to $40 million if immediate action was not taken.

In a conversation with Artsy, days after his July 14th departure from the Met, Campbell was candid about the issues that contributed to that deficit—including his own ambition as director. But he also painted a far more nuanced picture of the circumstances surrounding the major grievances levied against him and the museum: in particular, heavy investment in expanding the museum’s activities in modern and contemporary art and extensive resources put into digital infrastructure to help expand the reach of the United States’s largest museum.

In May, documents leaked to the Guardian offered an unprecedented glimpse into Facebook’s inner workings: How do they think about moderating a range of controversial subjects, from violence to pornography?

But those in the art world were particularly interested in the handful of slides detailing the social media giant’s policy on nudity in works of art. Facebook and Instagram have long been criticized for removing artwork containing nudity, a practice many interpret as censorship. On this episode, we dive into social media’s new role as the gatekeeper of what we see—and why fixing this system may prove to be impossible.