The Week in Art Podcast Por The Art Newspaper arte de portada

The Week in Art

The Week in Art

De: The Art Newspaper
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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.

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Episodios
  • 2025: our review of the year

    2025: our review of the year
    Dec 19 2025
    As always, the final episode of The Week in Art of the year is a review of the past 12 months. To look at the top stories, the big issues and the best art in 2025, host Ben Luke is joined by The Art Newspaper’s contemporary art correspondent, Louisa Buck, our art market editor, Kabir Jhala, and Ben Sutton, our editor-in-chief, Americas. We reflect on subjects from the Los Angeles wildfires in January, via President Trump’s raft of policies in relation to culture and heritage, to the crisis at the Louvre, the National Gallery in London’s expansion plans and their potential effect on the gallery’s relationship with Tate, and the fortunes of the art market, including the flight to the Middle East for art fairs and auction houses. Plus, the guests select their exhibitions and works of the year, including those by Kerry James Marshall, Helen Chadwick, Coco Fusco, Jack Whitten, Henri Matisse and Hamad Butt.

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    1 h y 21 m
  • Frank Gehry remembered, Serpentine and FLAG Art Foundation prize, Joan Semmel

    Frank Gehry remembered, Serpentine and FLAG Art Foundation prize, Joan Semmel
    Dec 12 2025

    Frank Gehry, the architect behind the Guggenheim Bilbao, Geffen Contemporary at MoCA, Los Angeles, and the Fondation Louis Vuitton in Paris, among other museums and art spaces, died last Friday at his home in Santa Monica, California. He was 96. Ben Luke discusses his long engagement with art, artists and museums with Paul Goldberger, the architecture critic and Gehry’s biographer. Serpentine and the US-based FLAG Art Foundation last week announced the creation of a prize for artists that will see £1 million being awarded over 10 years to five artists, so £200,000 to each recipient—the largest contemporary art prize in the UK given to a single artist. Ben speaks to Glenn Fuhrman, founder of The FLAG Art Foundation, and Jonathan Rider, its director, about the prize. And this episode’s Work of the Week is Sunlight (1978) by Joan Semmel. The painting features in a new exhibition opening at the Jewish Museum in New York this week, and we speak to the show’s curator, Rebecca Shaykin.


    Paul Goldberger is the author of Building Art: The Life and Work of Frank Gehry, published in 2015 by Knopf, and Why Architecture Matters, published in 2009 by Yale University Press.


    Joan Semmel: In the Flesh, Jewish Museum, New York, 12 December-31 May 2026

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    57 m
  • Art Basel Miami Beach, Louvre crisis deepens, Helene Schjerfbeck

    Art Basel Miami Beach, Louvre crisis deepens, Helene Schjerfbeck
    Dec 5 2025

    The Art Newspaper’s editor-in-chief, Americas, Ben Sutton, and art market editor, Kabir Jhala, are in Miami Beach for Art Basel’s latest edition and discuss the top sales and the wider mood at the fair. As staff at the Musée du Louvre in Paris vote to strike, Ben Luke talks to Vincent Noce, our correspondent in Paris, about the deepening crisis at the museum, following the robbery in October. And this episode’s Work of the Week is Helene Scherfbeck’s The Tapestry (1914-16). It features in a new exhibition of the Finnish artist’s work opening this week at the Metropolitan Museum of Art in New York. We talk to the curator of the exhibition, Dita Amory, about the painting.


    Art Basel Miami Beach, 5-7 December 2025.


    Seeing Silence: The Paintings of Helene Schjerfbeck, Metropolitan Museum of Art, New York, 5 December-5 April 2026

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    53 m

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I listen, but find all too many times the assumption is that no one lives in the middle ground of politics - only on the extremes...especiallythe left side, where all artists exist, of course. I have stopped listening to a handful simply because they try too hard to be politically correct and inclusive of all ideas even when doing so isolates and minimalzes others and it makes them sound a bit crazy 🤪.
While I enjoy hearing about all the the gallery openings, I find it makes them sound even more disconnected from the majority of artists trying to make a living. How many artists can truly afford to travel all over the world for openings? It is geared toward the upper class, left leaning, English speaking portions of society.

Pompous & A Bit Entitled/Privileged

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