The Art Angle

Arthur Jafa is probably the most revered artist of the last decade. Born in 1960, in Tupelo, Mississippi, he came up through the world of cinema. But Jafa also found his way into the art world with his difficult video work and strange objects. In art, his reputation went viral in 2016 with the video, Love Is the Message, the Message Is Death. It is a collage of found footage from social media that included police violence against Black people and also moments of viral celebration and joy. It was both experimental and accessible, and drew huge crowds when it was first shown at Gavin Brown’s Enterprise in New York.

A follow-up film, called The White Album, won the Golden Lion for Best Artist as part of the main show of the Venice Biennale back in 2019. And this month, Jafa is back in Venice, this time in a two-person show called “Helter Skelter,” curated by Nancy Spector, pairing him with the famous artist Richard Prince, also known for using found and appropriated imagery to disorienting effect. That show opened alongside the Venice Biennale at the Prada Foundation, and was one of the few things during the opening weekend that everyone could agree was a must-see event.

Jafa has also curated a show currently on view at the Museum of Modern Art, called “Less Is Morbid,” a deliberately packed display of his favorite art. He is also one of the winners of this year’s Art Basel Award, to be honored at that fair. In the middle of all this intense activity, Jafa agreed to talk to Artnet's Ben Davis about his art, his view of art history, and what comes next.

During fair week in New York in mid-May, Andrew Russeth had the high pleasure of moderating a panel about the state of arts philanthropy at TEFAF New York. Joining him on stage at the Park Avenue Armory were two leading figures in American patronage, Sarah Arison and Michi Jigarjian.

Arison was named president of the board of the Museum of Modern Art in New York in 2024 at the age of only 39, making her the youngest person to ever hold that position. The president of the Arison Arts Foundation, she also chairs the board of YoungArts and serves on a variety of boards, including those of MoMA PS1 and American Ballet Theatre.

Jigarjian is CEO of Work of Art Holdings and a partner at 7G Group. She is the force behind the culturally rich Rockaway Hotel out in Queens, and for 15 years led the Baxter St at CCNY as its president. A first-generation Mexican American, she is on the boards of the Brooklyn Museum and MoMA PS1.

During the panel, which was titled “Who Supports Art Now? Patronage in a Shifting Cultural Landscape,” Arison and Jigarjian charted how arts philanthropy has changed in recent decades and described how they and their peers are leading institutions and supporting artists in a period of tremendous uncertainty—and potential.

Los Angeles has a new museum. Or a new vision for an old one. One of the most important museums in the country, the Los Angeles County Museum of Art, has just debuted a long-awaited new building.

It’s designed by the revered Swiss architect Peter Zumthor. It cost three quarters of a billion dollars to realize. And long before it opened to the public last month, it has been controversial, for a whole host of reasons. It debuts with LACMA’s charismatic director Michael Govan promising not just a new LACMA, but a new vision for how museums show art and relate to the public.

Ben Davis went out to Los Angeles to see the new building last month, and spoke to culture critic Carolina Miranda.

Miranda has the gift of being both a sharp observer or L.A. art and a gifted translator of sometimes esoteric museum and architecture debate. She has published an analysis of Zumthor and Govan’s vision means for CityLab, called “For Better or Worse, the New LACMA Is an Instant LA Icon,” and she is here with me today to talk about what LACMA means for the city and for museums now.

At the Venice Biennale, every two years, we expect big things from the artists picked to represent their countries. But I'm not sure anyone can quite prepare themselves for the universe of Florentina Holzinger.

After years becoming a titan of the theater world, Holzinger is now getting one of the most visible slots in the art world, a national pavilion in the Giardini. She’s representing Austria this year for what is surely going to be one of the most talked about pavilions.

Known for feminist performances that push the human body—and, by extension, the viewer—to their absolute limits, she does not shy away from nudity or sexuality. Flesh hooks, stunt artistry, live tattooing, bodily fluids, heavy machinery—all of it is in play, and none of it is trying to be polite. The physicality of her practice is not for the faint of heart, nor for her performers. Her work tends to divide a room, something Holzinger seems entirely unbothered by.

Opening May 9th, her exhibition called “Seaworld Venice” fills the Austrian Pavilion with water, turning it into an underwater theme park and a fully functional sewage treatment plant. Audiences can be part of the work: they can urinate in the onsite portable toilets, and their fluids will get cleaned and cycled back into the tanks. The work is about the human body, but it's also about ecology and about Venice itself, a city that is sinking, built on water it cannot drink, overwhelmed by the waste of mass tourism.

Kate Brown spoke with Holzinger about what went into building her trailblazing project for Venice, about the move from theater and dance into the art world, and about what it means to make genuinely uncompromising work.

We talk a lot about biennials. Art is in some ways a very local, in-person thing. Yet artists and creators and writers are also part of a global conversation, looking at and thinking about each other across borders, and these big, recurring art festivals can serve as an opportunity or a prompt to think about what that bigger conversation.

One of the biggest, the Venice Biennale, is coming up next month. It’s centered around a show called “In Minor Keys,” curated by the late curator Koyo Kouoh. My colleague Jo Lawson-Tancred recently had an article looking at the artists in that show, comparing where they were from and how old they were to the last several editions, to see how the art conversation was evolving.

Meanwhile, Ben Davis just published a big project this week, looking at the last four years of art biennials around the world, from the big ones in places like Istanbul, Gwangju, São Paulo, Sharjah, and Venice, to smaller or more experimental ones. He gathered all the names of artists to find out who has shown the most around the world since the 2022 Venice Biennale four years ago. Some are familiar names, some were total surprises.

With Venice soon to open, Ben speaks with Jo to talk about what we’ve learned from our different projects about where the global art conversation has been and where it might be headed.