#62 Live Review From the Venice BiennalePublished 18 July 2019
Welcome to our Venice Biennale special, which we recorded live in Italy last month. Returning to his roots as an art critic for our first ever review show, Allan Schwartzman joins host Charlotte Burns to take you on a tour through the art on view in the floating city, both in the biennale and beyond.
To hear more, tune in today.
Click here for the full transcript
Charlotte Burns: Hello and welcome to In Other Words, where we cover everything you ever wanted to know about the art world but didn’t know who to ask. Welcome to our Venice Biennale special, which we recorded live in Italy last month. Together with Allan Schwartzman—who’s returning to his roots as an art critic—we’ll take you on a tour through the art on view in this, the floating city.
Allan Schwartzman: “When I first saw it, I thought ‘We do live in interesting times, but do we live in times of interesting art?’”
We recorded our audio both in the biennale and beyond—so expect to hear sounds from the shows as well as different commentary from Allan and I taking place in the galleries, in restaurants and in hotel lobbies of Venice.
Allan Schwartzman was a Founder and Principal of AAP. He brought to the company more than 20 years’ experience in advising some of the world’s most influential and sophisticated collectors in forming their holdings of contemporary art, both individually and in conjunction with their stewardship of major museums.
Schwartzman is also widely respected as an independent curator, most notably for Instituto Inhotim, the visionary contemporary art park set within a 5,000-acre botanical garden in Brazil. As creative director and chief curator of Inhotim, he has been central to developing the collection of the renowned institution and commissioning its signature site-specific works by artists including Chris Burden, Giuseppe Penone, Matthew Barney, Doris Salcedo, Doug Aitken, Rivane Neuenschwander, Olafur Eliasson and Rirkrit Tiravanija, including projects that could not have been realized anywhere else.
Known equally as a tastemaker in contemporary art and an authority on the art market, Schwartzman is a frequent guest speaker and panelist at the Museum of Modern Art, the Guggenheim Museum, Art Basel and notable events around the world.
Schwartzman was a founding staff member of the New Museum of Contemporary Art in New York City and served as curator from 1977 to 1980. He has written extensively about art for publications including The New Yorker, the New York Times, Vogue, Harper’s Bazaar, Elle, Artforum and Art in America and was a contributing editor of Connoisseur. He served as a board member of Franklin Furnace from 1980 to 2000 and currently serves on the Board of Artists Space, one of New York’s premier alternative spaces, having also served as the board’s president.
executive editor of In Other Words
Charlotte Burns is the editor of In Other Words, our weekly newsletters and podcasts. She was previously the US news and market editor for The Art Newspaper, as well as a regular correspondent for publications such as the Guardian and Monocle. Previously, she worked with the London dealer Anthony d’Offay on special projects. For several years, she was a consultant at the cultural communications agency, Bolton & Quinn. She also worked at Hauser & Wirth in London.
Burns received a Masters degree (with Merit) from the Courtauld Institute in Art and Cultural Politics in Germany, 1890-1945, as well as a first-class B.A. honors degree in English and History of Art from Birmingham University. She moved to New York in 2010.
Where to look
In Pictures: Featured Works from Venice
For more on the Venice Biennale and the city’s other exhibitions:
- “The Don’t-Miss Shows and Pavilions at the Venice Biennale” by Jason Farago for The New York Times, published 13 May 2019
- “Venice Biennale 2019: Here Are All the Artists Confirmed to Represent Their Countries at the Event” by Caroline Goldstein for artnet News, published 11 March 2019
- “Scenes From the 2019 Venice Biennale” by Alan Taylor for The Atlantic, published 8 May 2019