The Art Angle

• Why Does Culture Feel Stuck?

  The Los Angeles–based trend forecaster and writer Sean Monahan is known for his sharp takes on the zeitgeist. Over the past decade, his cultural insights have routinely gone viral—most famously when he coined the term “vibe shift,” a phrase that quickly spread from niche corners of the internet to mainstream outlets like The New York Times and The Guardian. In the early 2010s, he co-founded the trend-forecasting collective K-HOLE with Greg Fong, Sean Monahan, Chris Sherron, Emily Segal, and Dena Yago. Though short-lived, their reports had an outsized influence on the cultural sphere, best known for popularizing the term “normcore”—a concept that began in the art world and ended up becoming a household world an era of anti-style. Today, Monahan runs 8Ball, his cult-favorite newsletter on Substack that decodes contemporary aesthetics, social dynamics, tech, and the subtle undercurrents of change. If you want to understand why things look, feel, and behave the way they do right now—his writing is essential. Senior Editor Kate Brown spoke with Sean about his own journey from art school to consulting for brands, and how that path informs his view of the present moment. They discussed institutional decay, the legacy of post-internet art, generational shifts, and the persistent sense that culture has entered a holding pattern. He also offered thoughts on why the 2020s—after several false starts—may finally be congealing into a definable decade.

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• How Does an Emerging Gallery Make It Now?

  We’re on the cusp of the 2025 edition of Art Basel—the flagship fair held each June in Basel, Switzerland. More than 200 galleries from around the world gather to present works spanning the 20th and 21st centuries. Art Basel is both a bellwether and a battleground. Participation is prestigious—and costly. It’s competitive, and it’s high-stakes. That’s always been true. What’s newer is the softening of the art market. Sales are down. Demand is cautious. Buying patterns are shifting. “Uncertainty” was the word last year—and it still is. Much of the focus tends to fall on the top of the market. But what about the emerging tier? The galleries selling works under $250,000 and $100,000? The ones spotting and raising new talent, pushing aesthetics forward? What does a “win” look like for them in this moment? What does growth mean now—and how do they survive in a contracting ecosystem? To unpack these questions, Senior Editor Kate Brown is joined by three dealers whose programs I’ve followed closely over the years. Their perspectives offer a real-time snapshot of what’s at stake. On the podcast with us is Robbie Fitzpatrick, of Fitzpatrick Gallery, a dealer who has operated galleries in Los Angeles and Paris, and who recently decided to take his gallery program nomadic. Robbie also founded Art Basel Social Club in 2022, an annual event that has become a defiant and central alternative during the week in Basel. This year, the edition is bigger than ever and takes place in a formidable location of a former bank in the center of the city. Kate is also joined by Lisa Offermann, founder of the gallery LC Queisser. Lisa opened the gallery in 2018 in Tbilisi, Georgia, and launched a second location in Cologne earlier this year. She’s participated in several editions of Art Basel and is part of its newest sector, Premiere, this year. Freddie Powell, founder of Ginny on Frederick, is also on the show—Freddie opened in London in 2020. With a sharp program and quick ascent, the gallery is making its debut at Art Basel this year, in both Basel and in Paris in the fall.

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• The Art World's Octopus Teacher

  Have you ever asked yourself: What do artists have to learn from the octopus? Maybe not—but the question is at the heart of the work of Miriam Simun, who currently has an exhibition about her Institute for Transhumanist Cephalopod Evolution at the art space Recess in Brooklyn. And it turns out the answer is mind-expanding. Almost literally. Simun’s unusual art practice can be seen as part of a serious trend in recent years of artists exploring non-human thought of all kinds in the hopes of shifting our troubled relationship to the natural world. The centerpiece of Simun's show at Recess is a series of workshops titled “How to Become an Octopus (and sometime squid).” For these, the artist guides participants through a two-hour program of “psycho-physical” exercises she has developed over many years through collaborations with marine biologists, engineers, dancers, and synchronized swimmers. She’s taught the method all over the world, and the description says the classes are “open to anyone curious about cephalopods, new ways of sensing, and expanding the definition of self”—an audience which included me. Art Critic Ben Davis got in there to explore his cephalopod side, and for this week's Art Angle, he talks about Simun’s art and what he took away from his experience in her workshop.

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• A Crypto Billionaire's Lawsuit, Koons’s Hulk Blasts Back,' the Art Basel Awards

  It's been a minute, but we're back with our Round-Up episode, where we parse and discuss some of the biggest stories going on around the art world, and it's really good to be back into this format again after a little commercial break.  A lot has been happening lately in the so-called art world—good, bad, and there's been plenty of in-between that—but it remains as colorful, contradictory, and chaotic as ever.  We'll be diving into crypto collector Justin Sun’s escalating legal battle with Blue Chip Titan David Geffen over a long-nosed Giacometti sculpture; a trio of massive Hulk sculptures by Jeff Koons that descended on Frieze New York a couple of weeks ago—these big green bellwethers for the state of the market are in play; and finally, we'll look at some of the major developments at Art Basel, including the launch of its very first art award. Senior Editor Kate Brown is joined by co-host, art critic Ben Davis, and Artnet News Pro Editor Andrew Russeth.

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• The New Rules of Subculture

  There is nothing that Artnet’s Art Critic Ben Davis likes better than finding a name for a phenomenon that’s all around him, but that he doesn’t have a name for yet. The writer and theorist Nadia Asparouhova has a new book out that offered exactly this. It’s called Antimemetics: Why Some Ideas Resist Spreading. We tend to think of cultural influence as being tied to popularity and visibility. What Asparouhova wants us to pay attention to is a whole other class of cultural stuff whose influence is linked instead to being hard to find or difficult to understand. These are what she calls “anti-memes.” It’s the opinion puts you at odds with some people but really connects you to others, so you’re careful how you share it. It’s the artwork that looks like nonsense to the majority of the audience but is full of intricate meaning to fans. The theory of "anti-memes” is about how some of our most intense cultural investments are below the radar—not because they haven’t been found yet, but because that’s how they are built. All this touches on themes that a lot of artists have been thinking about. Asparouhova’s book, in fact, is published by a group of artists and thinkers called the Dark Forest Collective, named after writer Yancey Strickler’s idea of the internet as a “dark forest,” a space that has become so contentious and commercial that the smart people retreat to more private digital spaces for authenticity and cachet. Asparouhova’s book helps focus in on the question of how difficult ideas and art that’s not built to go viral survive and find real fans now.

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