The Art Angle

Kim Gordon—artist, musician, writer, and co-founder of the iconic rock band Sonic Youth—is one of the most restlessly creative figures in American culture. Over the past four decades moved between mediums with an ease that few can achieve. She published her memoir Girl in a Band in 2015 to wide acclaim. Her visual work has been shown at institutions including the Andy Warhol Museum, the Irish Museum of Modern Art, and the Busan Biennale. Her 2024 solo album The Collective, a record built on trap beats and with sharp cultural commentary, earned her two Grammy nominations, a career first.

But Gordon was always an artist first. Now, she is the subject of two concurrent exhibitions now open at Amant, the Brooklyn-based arts organization. The first is her solo survey "Count Your Chickens," which brings together painting, ceramics, film, and readymades spanning nearly 20 years of work. The second is "Folded Group," a group show she co-curated with Bill Nace, her collaborator in the experimental guitar duo Body/Head, featuring 19 artists and artist-musicians many of whom, like Gordon, have never accepted the boundary between making art and making music. Her third solo album, Play Me, is out on March 13.

In her conversation with senior editor Kate Brown, Gordon discusses her visual practice, her relationship to the art world and the music world, and what these two universes share and where they diverge. She reflects on album art as a curatorial act, on how the internet has transformed what it means to make and disseminate work, and on what it has meant to spend a career resisting every category people tried to put her in.

The Whitney Biennial is here. That would be the Whitney Museum’s big curated show which every two years brings together dozens of artists, always closely watched by critics and public as a statement about what is important now in art.

Hot on its heels, next month, MoMA PS1 is staging "Greater New York." That event happens every five years, bringing together dozens more artists to take the temperature of art in New York.

Taína H. Cruz, my guest today, is featured in both these shows at once.

For the Whitney, she is even, in a way, the face of the show: a work by Cruz, a green-tinged close-up painting of a grinning child, called I Saw the Future and It Smiled Back, is blown up on a billboard outside the museum in the Meatpacking District.

This is a lot of attention for an artist who is relatively young, born in 1998, and just getting her MFA from the famed Yale School of Painting last year. She’s worked in a variety of media, but is known now for paintings, often featuring images of Black female figures with a moody, woozy, sometimes unsettled or unsettling atmosphere. Sometimes Cruz works in suggestions of African American and Caribbean folklore, or intimations of horror and fantasy. Sometimes, she’s played on the images of celebrities like Halle Berry or Tyra Banks. Sometimes she reworks her own personal photos of neighbors from New York.

Since Cruz is an artist that the curators of these big shows are looking to, art critic, Ben Davis, wanted to get a sense of the influences—from art and otherwise— that are shaping her approach to art, and what she makes of all the attention.

It’s time for our monthly news roundup where we discuss some of the biggest stories emerging in the art world. On the heels of the first-ever Art Basel Qatar, we will be discussing the Middle Eastern art market and the regional art scenes. Is this simply another fair on the global circuit, or something more structural—an attempt to recalibrate where cultural power sits?

We will doing a vibe check on the Ultra-Contemporary art scene’s current obsession with Old Masters, art history, and dead artists. As market pressures mount and institutions increasingly turn toward estates and historical figures, we’ll ask whether this is a genuine intellectual reckoning or a marketing strategy dressed up as scholarship. Maybe it is both?

Finally, we will rove over to Rome, Italy, where where a church fresco featuring an angel that bore a striking resemblance to Italian Prime Minister Giorgia Meloni was abruptly removed, sparking debate within and well beyond the church about restoration, iconography, and the politics of sacred imagery. We reminisce about the great many botched art restorations of years past.

To discuss these topics, Ben Davis and Kate Brown are joined this month by London-based Artnet News editor Margaret Carrigan. Carrigan is the host of our sister podcast, the Art Market Minute, and co-author of our weekly Artnet Pro market newsletter, The Back Room.

There are many ways to read the vast trove of documents tied to the convicted sex offender and financier Jeffrey Epstein, who died by suicide in prison in 2019. The Epstein files offer a window into the rarefied, power-brokering circles he inhabited. But the latest tranche—released by the U.S. Department of Justice in late January and comprising some three million pages, 2,000 videos, and 180,000 images—also provides a behind-the-scenes view of high-level financial maneuvering, including Epstein’s connections to the art and cultural worlds.

Revelations in the latest files have already had consequences: former French culture minister Jack Lang resigned as president of the Arab World Institute after disclosures connecting him to Epstein, and French financial-crimes prosecutors have opened a preliminary investigation into him and his daughter for alleged “aggravated tax-fraud laundering.” Art collector and film producer Steve Tisch is also facing scrutiny over email correspondence with Epstein in 2013 concerning multiple women. In early February, David A. Ross, chair of the Master of Fine Arts in Art Practice at New York’s School of Visual Arts, resigned after documents showed ties to Epstein.

The files also shed additional light on the art holdings of the billionaire Leon Black and his dealings with Epstein. Black, who served as chairman of the board of trustees of the Museum of Modern Art in New York from 2018 to 2021, stepped down from that role after backlash over his financial ties to Epstein, though he remained on the board as a trustee. Black has faced civil lawsuits and allegations that he sexually assaulted women introduced to him through Epstein. Black has denied the claims, and no criminal charges have been filed.

So we knew about Black and Epstein, to an extent. But my colleague, senior reporter Katya Kazakina, recently focused on how the latest documents illuminate Epstein’s sophisticated use of financial structures to enhance the value of Black’s vast art holdings—and just how much of his wealth was effectively stored in art.

This enormous release is wide-ranging, touching people and industries far beyond the criminal sexual activity in which Epstein was involved. Because of its sheer breadth, it bears emphasizing that inclusion in the files does not imply criminal wrongdoing. More will come to light as journalists and the public sift through the documents.