How Josh Kline Wrote the Essay That the Art World Can’t Stop Talking About

Artist Josh Kline has sparked intense debate across the New York art world with his viral essay, "New York Real Estate and the Ruin of American Art," published in the journal October. The text serves as a scathing critique of the current state of the American art industry, diagnosing it as "sick" due to skyrocketing real estate costs, systemic power imbalances, and a market that has become an unsustainable "conveyor belt" of commercial painting. Kline argues that the economic pressures of post-pandemic New York have made the city a hostile environment for experimental and conceptual practices.

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Museums and cultural institutions are participating in a viral social media trend where staff, often older guides or curators, deliver marketing scripts written entirely in Gen Z slang. The trend, which began with a video from England's Hever Castle in early September, has spread across TikTok and Instagram, with hundreds of organizations creating their own versions. Typical phrases include "no cap," "ate and left no crumbs," and "menty b," often accompanied by the "Millennial Pause" for comedic effect. The article highlights several examples, including the Poe Museum in Virginia and the New York Historical Society, and notes that the trend has expanded beyond the art world to include accountancy firms, donkey sanctuaries, and even the NYC Ferry.

‘It’s a tiny bit of joy!’ How trinket swapping is making the world a happier place, one china sheep at a time

Trinket exchange boxes, where people swap small items like pins, stickers, and ceramic animals, are rapidly spreading across the UK and US. The phenomenon, which began in Philadelphia in autumn 2024, has grown from 800 to nearly 1,500 installations in two months, according to Portland-based artist Rachael Harms Mahlandt, who tracks them on a world map. In Edinburgh, pet-sitter Sam Stevens runs a popular pink box outside Argonaut Books, inspired by a San Francisco exchange, and has seen her follower count jump overnight as locals trade trinkets for fun.

heading to basel swiss collector suzanne syz has a priceless list of fair dos and donts

Swiss collector Suzanne Syz, a longtime attendee of Art Basel since its early days as a "mammoth indoor flea market," shares her insights and advice for navigating the fair. In an interview with Cultured, Syz discusses her collection, which includes works by Barbara Kruger, Julian Schnabel, Olivier Mosset, and Peter Fischli, and offers tips such as skipping long lines, focusing on the Statements section for emerging artists, and trusting gut instincts over spreadsheets. She also highlights the distinct Swiss art scene, praising institutions like Kunsthalle Zürich and MAMCO, and schools like HEAD and ECAL.

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The article explores the little-known tradition of figurative Islamic art depicting the prophet Muhammad, which has existed since at least the 13th century in Persian and Turkish cultures. It notes that while a ban on such imagery is widely observed in Arab countries, no explicit prohibition appears in the Quran, and devotional images—often in miniature form—have been created by Muslims for personal and religious use. Examples include a mural in Tehran and a work at the Metropolitan Museum of Art. Scholars like John Esposito, Omid Safi, and Christiane Gruber are quoted to contextualize this tradition in the wake of the Charlie Hebdo attacks, which reignited debate over depictions of Muhammad.

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A new biography titled *Barnett Newman: Here*, written by art historian Amy Newman, reveals that the Abstract Expressionist painter Barnett Newman ran for mayor of New York City in 1933—long before he became a famous artist. At age 28, with no paintings to his name, Newman campaigned on a vague, socialist-utopian platform that included a free city-run art school, waterfront parks, cleaner waters, and public ownership of utilities. He ran specifically to oppose the spread of Communism among intellectuals, but he admitted he did not expect to win. He lost, and his candidacy became a family joke.

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CULTURED magazine celebrated the release of its second Hamptons issue of the summer with a garden party at the Montauk home of Robin Standefer and Stephen Alesch, founders of architecture and design studio Roman & Williams, who served as guest editors for the July/August issue. The event drew a star-studded crowd of East End regulars including Julianne Moore, Martha Stewart, Cynthia Rowley, Jenna Lyons, photographer Cass Bird, David and Monica Zwirner, Sotheby's CEO Charles Stewart, and many others, with drinks by Casa Dragones and a potluck spread by chef Chris Kronner.

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Frida Kahlo's 1940 painting *El Sueño (La Cama)* sold for $54.7 million at Sotheby's New York, setting a new auction record for the most expensive work by a woman artist, surpassing Georgia O'Keeffe's *Jimson Weed, White Flower No. 1* ($44.4 million in 2014). The sale sparked widespread commentary, with many framing it as a milestone for gender equity in the art market, while others noted the persistent gap between this price and those achieved by male artists like Leonardo da Vinci ($450.3 million) and Gustav Klimt ($236.4 million).

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Trevor Christensen, a photographer from Provo, Utah, has gained viral attention on Imgur for his "Nude Portraits" series, in which he photographs fully clothed subjects while he himself is nude. The project aims to address the inherent power imbalance between photographer and subject by shifting vulnerability onto the photographer. Christensen's subjects react with a range of emotions—embarrassment, slyness, queasiness—which he captures as unguarded moments. The series is documented on his Instagram and his website, where he invites participation from Utah and beyond.

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Amalia Ulman's new film *Magic Farm* follows an American documentary crew that arrives in a rural Argentine town with a mandate to cover "crazy subcultures," only to find none. Led by a harried producer (Alex Wolff) and an anchor (Chloë Sevigny), the crew fabricates a zany trend while completely missing an environmental crisis affecting the village—no drinking water and widespread illness. Ulman describes the film as a critique of media bureaucracy, where content demands override actual news. The film continues her exploration of image-making and fiction, themes she previously investigated in her 2014 Instagram performance *Excellences & Perfections* and her 2021 debut feature *El Planeta*.

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Writer and theorist Nadia Asparouhova has published a new book titled *Antimemetics: Why Some Ideas Resist Spreading*, which introduces the concept of "anti-memes"—cultural phenomena whose influence derives from being hard to find or difficult to understand, rather than from popularity and visibility. The book is released by the Dark Forest Collective, a group of artists and thinkers inspired by Yancey Strickler's metaphor of the internet as a "dark forest," where meaningful exchange retreats to private spaces away from commercial and contentious public platforms. Artnet News critic Ben Davis reviews the book, connecting its ideas to contemporary art that deliberately operates below the radar.

Commentary: This year's Met Gala proved one thing: The real devil who wears Prada is Jeff Bezos

Jeff Bezos and his wife Lauren Sánchez Bezos served as honorary co-chairs and sponsors of this year's Met Gala, sparking widespread protests and calls for boycotts. Guerrilla activist group Everyone Hates Elon plastered New York with anti-Bezos signage, and activists placed 300 bottles filled with fake urine inside the Metropolitan Museum of Art to highlight Amazon workers' bathroom break complaints. New York Mayor Zohran Mamdani declined his invitation, and the absence of celebrities like Meryl Streep and Zendaya fueled speculation about a boycott, though representatives denied any coordinated protest. Despite the controversy, the gala proceeded with many attendees and is expected to raise more than last year's $31 million for the Costume Institute.

Linocuts by Eduardo Robledo Celebrate Mexican Heritage and Community

Eduardo Robledo, a Mexico City-based artist from Xochimilco, creates detailed linocuts that celebrate Mexican heritage, community, and spiritual motifs. His work features traditional symbols like skulls, skeletons, and Sacred Hearts alongside regional animals and cultural references such as Xochimilco's canal boats. Robledo also engages in social activism through printmaking, viewing it as a democratic medium for spreading messages about causes he supports. His prints are available at Hecho a Mano in Santa Fe, and he co-founded Lugar de Huida, a gallery in Mexico City that highlights Mexican printmakers.

How Art Stars Are Made

The New York Times published an article titled "How Art Stars Are Made" that explores the mechanisms and processes behind the creation of celebrated artists in the contemporary art world. The piece likely examines the roles of galleries, critics, collectors, and institutions in elevating certain artists to stardom.

Is Art Dying Along With Work?

Stirbt die Kunst mit der Arbeit?

The rapid advancement of artificial intelligence raises a fundamental paradox for the future of creativity: while automation could theoretically free humans from labor to pursue artistic endeavors, it simultaneously threatens the economic foundations of the art world. If AI-driven job displacement leads to a widespread loss of disposable income, the commercial market that sustains professional artists could effectively collapse.