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Lindsay Howard is the head of community at the Foundation, one of the new platforms that have been part of the current wave of NFT art. She joined me in our Brooklyn studio to discuss the audience for crypto art and the collectors eager to fork over money for it. We also delve into what it could mean for an art scene facing the fact that the post-pandemic world may be very different for creators, sellers, collectors, journalists, scholars, and everyone else.
This is the second podcast in a series of episodes and articles we will publish in the coming weeks on the topic of NFTs.
This week, LA’s new Academy Museum, the intersections of anti-Blackness and anti-fatness, a largely unknown 19th century Black theater in NYC, sign language interpreters, and more.
Titian’s paintings are masterpieces, with all the complications of the term.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Jenkins’s new short film, the centerpiece of a MoMI exhibit on The Underground Railroad, uses his signature techniques to confront the viewer.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.