Unibrow Radio

We are really excited about this one, because the staff never just records our editorial conversations for the world to hear. So that is what we are doing today, as our founder Evan Pricco and editor-at-large Shaquille Heath talk about the Fall 2026 exhibition highlights that has them excited. Our new series is called "Brow To Brow."
Evan and Shaq talk about the shows that they missed, the films they watched, the glory of "Widow's Bay," the enjoyment of The Odyssey, diet coke, popcorn, the cultural zeitgeist... really just two old friends catching up and talking about how much they just love looking and talking about art.
Some highlights include a lengthy chat about Roy DeCarava's upcoming show at David Zwirner, Ibrahim Mahama at the Fondation Cartier, Azzedine Alaïa: Sculpting Fashion at the Legion of Honor, what we are excited about, what we have learned this summer, what we loved about Matthew Rhys and Hiro Murai... and the upcoming Issue 03 of our print journal...
So please, like, subscribe to Unibrow Radio, and enjoy this conversation with Evan Pricco and Shaquille Heath and the "Brow to Brow" series...

Sometimes the best podcasts are the most unexpected ones, and that is what happened in our conversation with the acclaimed painter, Robin F. Williams. What began as an interview for our Issue 03 that will be out in the fall, coinciding with Williams' solo presentation with PPOW Gallery for Frieze London in October, turned into a wide-ranging conversation about serendipity, a bit of magic, a bit of cultural critique, and the solar system aligning over the skies of Columbus, Ohio in 2024. We took a journey...
Williams is Ohio-born but now been based in New York for two decades, whose work often explores what they call the “low-brow, nitty-gritty, American stuff” of horror films, social media and pop-culture, but also through the influence of the past masters and European classics.
In quite a rewarding experience, Williams felt a shift in their practice after a return home and the 2024 museum survey, “We've Been Expecting You” at the Columbus Museum of Art in Ohio, where the solar system aligned, literally and figuratively, and a bit of serendipity has brought new energy to the direction of the paintings…
At the moment, Williams is in the final stages of completing Act Natural, a new body of work for PPOW that looks at how we confront AI and technology in our lives, and the dichotomies and contradictions in our 21st century human experience.
So please, like, subscribe to Unibrow Radio, and enjoy this conversation with Evan Pricco and Robin F. Williams.

The main reason I think I love art so much is because it's full of mystery. I've long had a soft spot for the unusual. Somewhere between Are You Afraid of the Dark? and Lemony Snicket’s A Series of Unfortunate Events, I realized my fascination with the unexplained, and I’ve been chasing that feeling ever since. It was only a matter of time before that curiosity led me to the art world. After all, every great mystery leaves clues. So does every great work of art.
Art rewards those willing to think like a detective. Understanding a work of art means leaning into that mystery, and following its scent down a long trail of clues, symbols, and intentions. Why are certain objects illuminated while others recede into darkness? What’s the difference between an open palm and a closed fist? Why does one figure meet your gaze while another looks away? It all means something, if you’re willing to look closely enough.
Of course, when I learned about Jane! at Cantor Arts Center at Stanford University, I had to speak with its curator. Jane! explores the enigmatic life, and even more mysterious death, of Jane Stanford, founder and matriarch of Stanford University. An advocate of the arts, a collector of oddities, a spiritualist, and the steward of the Cantor, Jane was a remarkably complex woman of the Gilded Age. After surviving one apparent poisoning attempt, Jane died just weeks later under circumstances that remain as mysterious today as they were in 1905. Perhaps it's no wonder that her final resting place lies in a mausoleum just steps from the museum she built. What may be even more mysterious are the numerous staff and students who claim to have seen a woman eerily similar to her portrait wandering Stanford's grounds.
On this episode of Unibrow Radio, I speak with Patrick R. Crowley, Associate Curator of European Art at the Cantor, about why it's time for everyone to know Jane, (and her ghost,) a little better. No Ouija board needed. –– Shaquille Heath
Jane! Life, Vision, and Legacy of Jane Stanford is on view at the Cantor Arts Center at Stanford University through May 18, 2028.

I don't remember the year I met Saša Bogojev, but I know that he and I both were finding our way in the world of contemporary art through a small passageway that was emerging in a tunnel called Street Art. I think he and I both saw that there was a camaraderie, a friendship, a bond in that scene that was applicable to a greater contemporary art world, a language of access that could be used in describing a greater art lexicon and language. So here we are, nearly 15 years later, and Bogojev has gone from Juxtapoz contributing editor to become a leading writer, curator and organizer of a wave of emerging art that is both international and vital to the health of the overall art market.
And, for the last half-decade, Bogojev, The Unibrow’s regular contributor and an editor-at-large, has been a curator and creative artistic director of the CAN Art Fair in Ibiza (and this year, Madrid). This is what I wanted to talk to him about; how the future of the art fair as an entity and the position that CAN has taken over the course of 5 years. We also talk about the increased pressure on the art world, the expectations, the bigger audiences, the draws, the incredible talent we see internationally and the language that we use to historically place it in the world-at-large.
We also talk about some of the subjects he loves to write about, how his passion for the arts shows up in his writing, and those little avenues you can find yourself walking down that end up in bigger conversations about arts and culture.

When Jessica Fredericks and Andrew Freiser founded Fredericks & Freiser Gallery in 1996, the art world was a different place. New York was a different place! What surviving as a gallery meant back then has changed drastically in some respects, but the core principles remain: show what you believe it, and do it with honesty and care.
The parts that have changed, indeed, are art fairs, social media, a more savvy artist and more informed collector. But Jessica and Andrew, through a program of showing estate, middle career and young, emerging artists that create what they call "psychological figuration," have weathered multiple storms and the highs and lows of the art market to have one of the most consistent programs in New York. And that is important, as they know they often give an artist their long-sought-after "first New York solo show." That, to this day, will always be a milestone.
We sat down with Jessica and Andrew the week of the Independent Art Fair, one of two big art weeks in New York during the year, just after they opened a solo show with Maria Calandra a few nights before. This is the type of schedule we wanted to know about. What makes a gallery work? What makes them interested, three decades into their careers as dealers? What are the ups? The downs? What has changed? Is New York still the epicenter of Art?
In this conversation, we talk about the early years of the gallery and how to establish a program that lasts 30 years. From being one of the first galleries in Chelsea, to the blessing of John Wesley and being one of the first galleries to show Jenna Gribbon, they have many stories to tell over 3 decades. 
That is no small feat in the gallery world, and the advice and direction both Jessica and Andrew have taken and given over the years offers an insight for all galleries starting up today.