Sarah Douglas

1 week ago | artnews.com | Sarah Douglas

How are women artists faring these days? According to a new survey commissioned by Anonymous Was a Woman, the arts nonprofit known for its grant-making, and compiled by reporter-researchers Julia Halperin and Charlotte Burns in conjunction with SMU Data Arts (and exclusively released online by ARTnews), the answer is complex—and in many ways disheartening. But one thing is for sure: the art world is all ears.

4 weeks ago | artnews.com | Sarah Douglas

You may have read the news the other day that Apple TV+ has just landed a new series called The Dealer, about the relationship between Jessica Chastain (the dealer) and, in the words of Deadline “her most gifted and unnerving artist, played by Adam Driver.” You may have also heard that filming has just wrapped on The Gallerist, a feature film starring Natalie Portman and Jenna Ortega with a plot that Deadline encapsulates as being about “a desperate gallerist who conspires to sell a dead guy...

Jan 7, 2025 | artnews.com | Sarah Douglas

Since the early 2000s, there has been a significant growth in education around the art world, and specifically in the art market, with courses at universities and programs at Sotheby’s and Christie’s. Marc Spiegler, the former director of Art Basel, the world’s most important fair for modern and contemporary art, chalks that up to the professionalization of the field.

Nov 26, 2024 | artnews.com | Sarah Douglas |Glenn Adamson |Emily Watlington |Chloe Wise

When we talk about sending an issue of a magazine to the printer, we often say we are putting it to bed. This is a time-worn phrase, an artifact of an analog era: the “bed” here refers to the printing press. I was thinking about this phrase because this issue goes to bed at the end of October. As it sleeps, if you will, the United States presidential election will be decided. When it wakes up in late November, in your—the reader’s—hands, our country will have elected a new leader.

Oct 31, 2024 | artnews.com | Sarah Douglas

“Maybe I have this stupid feeling that art can save the world,” the Los Angeles–based artist Llyn Foulkes said in an oral history conducted for the Smithsonian Archives of American Art. That was in 1997. Now, in 2024, Foulkes, one of the original artists to show at LA’s storied Ferus gallery in the ’60s, would likely be the first to admit that it hasn’t. If anything, the world has, by most accounts, gotten worse.