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With his themes of repetition and appropriation, Andy Warhol’s work can seem mass produced. He was prone to say that his assistants did his work for him and often invented different narratives in interviews. In fact, weaving tall tales and shaping his own mythology was another important aspect of his art: he was creating the ultimate persona of an artist every bit as Pop as his paintings, one who specialized in glacial coolness and glib detachment.
Although the paintings might look like they came off of a conveyor belt, that was by design, and Warhol maintained close involvement with his work. In fact, before silkscreen printing became his trademark, Warhol hand-painted the 32 canvasses that make up the iconic 1962 work Campbell’s Soup Cans.
Warhol gained fame in the 1960s as part of the Pop boom, but this was actually the second phase of his career. He spent the 1950s in New York as a successful commercial illustrator, doing advertisements, book and record covers. All the while he made personal work and had a smattering of shows in small galleries, most of which were ignored or poorly received. But the seeds of his subversive repertoire were being slyly developed in his intimate drawings to which Warhol would return in his later life.
For this week’s episode, Artnet editor William Van Meter is joined by the journalist, critic, and author of the 2020 biography Warhol, Blake Gopnik. What more could be said about the artist that the heap of other biographies hadn’t covered? It turns out, plenty. Gopnik spent eight years researching and writing Warhol, and at almost 1,000 pages it is filled with wonderful details and newly discovered data.   
On this episode we discuss Warhol by-hand, his pre-pop era as well as some of his later, less mechanized moments such as his collaboration with Jean-Michel Basquiat, and how he managed to leave his mark on every aspect of his work, handmade and beyond.

It is the exhausted end of a jam-packed month of May, and we're staring into what promises to be a similarly jam-packed June. It's overwhelming to think about it all, but exciting to discuss some of the biggest stories of the last few weeks. That's right, it's time again for our monthly roundup, this month hosted by Artnet's national art critic Ben Davis, senior editor Kate Brown, and European news editor Margaret Carrigan.
Based in Berlin, Germany, Kate recently visited the Marianna Simnett show at the Hamburger Bahnhof museum, which was commissioned to coincide with the 2024 European Football Championship, being hosted by Germany. Maggie, though based in London, traveled to New York for the Art Business Conference and took in Stanley Whitney's retrospective at the Buffalo AKG, where she suggests visitors pay a visit to Albert Bierstadt's The Marina Piccola, Capri, which was gifted to the institution by the artist himself in 1863. Finally, Ben recommends the project "Means of Production" organized by Lunch Hour, which brings together the work of 75 New York-based artists in a former hosiery factory in Red Hook, Brooklyn.
First up on this edition is what may be the biggest story of recent weeks and maybe even all of recent auction history, that is the hack of Christie's website that spanned the all-important week of sales in New York, which continues on, and now features a countdown clock threatening to leak valuable client data. Next, the trio discusses a dispute between the artist Maurizio Cattelan and Anthony James over who owns the right to a specific art idea, which in this case is shooting a gun at a metal panel and presenting  it as a painting.
And finally, we'll talk about the public's overwhelmingly critical outrage over recent portraits of British Royals, specifically King Charles and Princess Kate Middleton. Although they are the most recent instances, there is in fact a long history of unpopular royal portraits.

Land art, the movement which emerged in the 1960s and 70s with artists such as Robert Smithson, Nancy Holt, and Michael Heizer erecting monumental works in far-flung destinations, is widely regarded for its engagement with the environment and its elements. These remarkable installations are crafted in concert with the Earth, meant to evolve as sun, storms, and seasons weather them continuously over time.
But what if you homed in on the core of this concept, creating sweeping land artworks in ways and places where they would be truly temporary, imprints made for a moment before disappearing back into the Earth? This is the crux of California-based artist Jim Denevan’s dynamic practice, which involves interacting with topographies and terrains to craft ephemeral compositions that play with the impermanence of our ever-changing world.
Since the mid-1990s, Denevan has traversed the globe creating unfathomably massive works in sand, earth, and ice, often using no more than a rake, stick, or even the soles of his feet. He has etched miles-long Fibonacci circles in Siberia’s frozen Lake Baikal, drawn shore-spanning spirals in San Francisco’s Ocean Beach, and sculpted concentric rings of sand mounds at international public art exhibitions Desert X AlUla in Saudi Arabia and Manar Abu Dhabi. His work has been featured in institutional shows at MoMA PS1, the Peabody Essex Museum, and the Yerba Buena Center for the Arts, as well as the Oscar long-listed documentary Man in the Field, which explored Denevan’s artistic career and his culinary trajectory as the founder of Outstanding in the Field, a roving restaurant set where food is sourced to connect diners with the origins of their meals.
This spring, Artnet collaborated with Denevan on an original project, titled “You Only Live Once,” showcasing the all-new 2024 Lexus GX alongside the artist bringing to life an incredible land artwork in Lake Harper north of Los Angeles. Taking the shape of the universal number “1,” the more than quarter-mile piece is a dramatic testament to making the most of our time on this Earth by confidently pursuing our curiosities and drive for adventure.

Who are the rising talents in the art world poised for greatness? Discover them in ‘Up Next’, Artnet’s popular series of profiles introducing you to key visionaries on the verge of stardom. This month, we’re airing two special Art Angle episodes spotlighting two figures shaping their fields in innovative ways. Subscribe to The Art Angle wherever you get podcasts to hear both episodes, and visit News.Artnet.com to catch the latest up-and-comers we’re celebrating in ‘Up Next’.
Yung Ma is an international curator who has held positions at some of the world's most prestigious art institutions. In 2021 he was appointed senior curator at London's Hayward Gallery, and previously held positions at M+ in Hong Kong, and the Centre Pompidou in Paris. He served not once, but twice, as the co-curator of the Hong Kong Pavilion at the Venice Biennale, and was the artistic director of the Seoul Mediacity Biennale in 2021. It's fair to say that Ma knows better than most what audiences want from museums, and his track record organizing acclaimed exhibitions of artists like Cao Fei, and a recent retrospective of Mike Nelson proves that he knows how to deliver. Artnet's London correspondent Vivienne Chow spoke to Ma about the changing tides within the realm of museums and his personal experiences at the forefront of contemporary art.

What is a connoisseur? Who can be one? What role do they play in shaping tastes of the art market and the large expanse of art history?
There's perhaps no better place to ask these kind of questions than at TEFAF, the many splendored Dutch fair where art, antiquities, and antiques take center stage. Each spring, the event returns to New York City and a swath of visitors—international and local, new and returning, celebrity and, well, not—flock to the storied Park Avenue Armory. Last week amid those festivities, as dealers sold every kind of treasure from ancient Roman sculptures to contemporary Korean paintings, Artnet and TEFAF hosted a panel  featuring three experts discussing the state of connoisseurship today, and how a new generation of collectors is approaching that field.
This week, listen to a recorded version of that lively conversation moderated by Artnet Pro Editor Andrew Russeth, joined by Adam Charlap Hyman, Principal at Charlap Hyman & Herrero; Eleanor Cayre, Art Advisor, Cayre Art Group; and Ebony L. Haynes, Senior Director, David Zwirner & Director, 52 Walker.

Who are the rising talents in the art world poised for greatness? Discover them in ‘Up Next’, Artnet’s popular series of profiles introducing you to key visionaries on the verge of stardom. This month, we’re airing two special Art Angle episodes spotlighting two figures shaping their fields in innovative ways. Subscribe to The Art Angle wherever you get podcasts to hear both episodes, and visit News.Artnet.com to catch the latest up-and-comers we’re celebrating in ‘Up Next’.
Alexander Shulan has a knack for spotting emerging talents. The founder and curator of Lomex Gallery is a born-and-bred New Yorker who began the venture as a sort of "collaborative project" between himself and a group of artist friends. That lark turned into a full-blown commercial enterprise showing the likes of Robert Bittenbender, Emma McMillan, and Andrea Fourchy, and Maggie Lee. While the gallery's ethos has long been dedicated to showing new-New York artists, when the gallery moved from its original home in the Bowery to the new art mecca of Tribeca, Shulan has begun to expand his purview beyond "hyper-local" confines. In a roving interview with Artnet's Wet Paint columnist Annie Armstrong, Shulan discusses how the gallery is forging a new path in the ever-crowded art world.