“People today are so used to Basquiat's prices being extraordinarily high and rising that it's almost hard for people to understand that wasn't always the case. In the year he died, 1988, a terrific painting by Basquiat might have sold for $30,000. Relative to his other artistic peers, like a great Julian Schnabel painting that cost $800,000. After Basquiat died, some speculative capital entered his market, and his prices did pop, but in the early 1990s, his prices fell apart, and for much of the first half of the 1990s, his work was selling for 80% off what it had been selling before. Auction houses didn't want to include him in their auctions. There was a really good chance he was going to be remembered, but certainly not become a great star. Three key figures believed in him and proceeded to buy almost every available Basquiat in the first half of the 1990s. They were also just passionate believers in his work. But for those three people, it would have taken much longer for Basquiat to achieve acclaim, if ever.”

Today, we’re joined by someone uniquely positioned to unpack the art world’s inner workings and to help us understand one of its most mythic figures — Jean-Michel Basquiat. Doug Woodham is the author of the new biography, Jean-Michel Basquiat: The Making of an Icon, the first major life study of Basquiat in over twenty-five years. Drawing on more than a hundred interviews — from family and friends to collectors and curators — Doug traces the rise, fall, and resurrection of an artist who redefined what it means to be a cultural icon. Before turning to writing, Doug served as President of the Americas for Christie’s, one of the world’s leading auction houses. That role gave him an insider’s perspective on how value is created — and mythologized — in the modern art market. In this conversation, we’ll explore not just the man behind the legend, but the powerful machinery that turned Jean-Michel Basquiat into one of the most recognized and commercially successful artists in the world.

Episode Website

www.creativeprocess.info/pod

Instagram:@creativeprocesspodcast

Images courtesy of Doug Woodham and Thames & Hudson. For image credits, see Episode Website.

“All of the great artists are there for a reason: because they rebelled in some way. They created a visual vocabulary that felt fresh and new, which excited people. So, the great artists are not built on sort of anthills of sand. They're built on things of substance and of meaning. Though this is not a sufficient condition to become an icon, it's a necessary but not sufficient condition. I think you have to have an interesting and vivid personality or personal narrative that makes you interesting for people to talk about and want to learn about. I think you also have to have a support network of galleries, curators, and collectors who are excited about your work and want to push it forward, not wanting it to be forgotten. Basquiat's visual vocabulary is distinctive and stands out relative to what was being done in the 1980s. That's the sort of strong hill on which his reputation is built. Basquiat benefited from being the first black artist of note who got pushed forward. As in many things, the first benefits.”

Today, we’re joined by someone uniquely positioned to unpack the art world’s inner workings and to help us understand one of its most mythic figures — Jean-Michel Basquiat. Doug Woodham is the author of the new biography, Jean-Michel Basquiat: The Making of an Icon, the first major life study of Basquiat in over twenty-five years. Drawing on more than a hundred interviews — from family and friends to collectors and curators — Doug traces the rise, fall, and resurrection of an artist who redefined what it means to be a cultural icon. Before turning to writing, Doug served as President of the Americas for Christie’s, one of the world’s leading auction houses. That role gave him an insider’s perspective on how value is created — and mythologized — in the modern art market. In this conversation, we’ll explore not just the man behind the legend, but the powerful machinery that turned Jean-Michel Basquiat into one of the most recognized and commercially successful artists in the world.

Episode Website

www.creativeprocess.info/pod

Instagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it’s probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”

The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini’s final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini’s original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei’s belief that 'Everything is Art. Everything is Politics.'

The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.

My guest is the documentary’s director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei’s words, “art competes with reality, but art will have the last word.”

Episode Website

www.creativeprocess.info/pod

Instagram:@creativeprocesspodcast

“Everything is Art. Everything is Politics.
I think art competes with reality. And art will give you the last words.” –Ai Weiwei

The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini’s final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini’s original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei’s belief that 'Everything is Art. Everything is Politics.'

The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.

My guest is the documentary’s director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei’s words, “art competes with reality, but art will have the last word.”

Episode Website

www.creativeprocess.info/pod

Instagram:@creativeprocesspodcast

“This awe that I feel every time I meet an artist who has the courage to deal with what it means to be in the world as a human being and to tackle it from different ways and through different media. I always feel that through the collaborations I have with artists, I learn a little bit more about the world, myself, my feelings or emotions, and how I reflect on things. Getting another person's perspective and taking that in is extremely generous. What we can take with us from the artistic practices we encounter is significant. Again, I think one of the fundamental aspects of art is that it doesn't require agreement, consensus, or rules. It's a place where we can speculate, imagine, and, hopefully, re-courage ourselves in a way, if that's a word. I've always been motivated by working with artists; that personal meeting is always extremely fruitful.”

In the ever-evolving world of contemporary art, some voices rise to shape the conversation in truly profound ways. Marie Nipper has spent her career at the nexus of institutional leadership, curatorial innovation, and artistic collaboration. As the director of the ARKEN Museum of Contemporary Art in Denmark, she is not just leading a museum; she's rethinking its very purpose—from an artistic lab to a public town square. Her journey has taken her from the hallowed halls of the TATE and ARoS to the forward-thinking spaces of Copenhagen Contemporary, all while championing the freedom of artists and the civic role of the museum.

“I think that is one of the places where we are really challenged, especially when we speak to kids and young people, as they often feel they have little agency in creating a better future for themselves. So, I believe we can really give that space to our audiences by showcasing some of these groundbreaking practices that are out there right now in contemporary art.”

Episode Website

www.creativeprocess.info/pod

Instagram:@creativeprocesspodcast

“We don't need to find an end solution, but it's a space where we can speculate, imagine, and practice our foresight. We can be part of a bigger imagination together with an institutional framework, which is really what we try to motivate as well when we communicate these exhibitions to our audience and speak with our guests about these works. We can also sense that it's really a place where a lot of people like to enter these days. When you turn on a TV, look at a newspaper, listen to your radio, or speak with your friends, it seems like the world is falling apart on so many levels. It's such a challenging time. I think we can also offer this space for reflection and hopefully provide a reflection that gives some idea or feeling of agency.

For me, it's this awe that I feel every time I meet an artist who has the courage to deal with what it means to be in the world as a human being and to tackle it from different ways and through different media. I always feel that through the collaborations I have with artists, I learn a little bit more about the world.”

In the ever-evolving world of contemporary art, some voices rise to shape the conversation in truly profound ways. Marie Nipper has spent her career at the nexus of institutional leadership, curatorial innovation, and artistic collaboration. As the director of the ARKEN Museum of Contemporary Art in Denmark, she is not just leading a museum; she's rethinking its very purpose—from an artistic lab to a public town square. Her journey has taken her from the hallowed halls of the TATE and ARoS to the forward-thinking spaces of Copenhagen Contemporary, all while championing the freedom of artists and the civic role of the museum.

Episode Website

www.creativeprocess.info/pod

Instagram:@creativeprocesspodcast

“There's something fundamental about the value of art and culture. Not just being integrated for vocational reasons, but because the experience of art and having a cultural element in one's life brings enjoyment, learning, relief, or any of the many experiences and feelings that art provides. I think this is quite fundamental as an element of life. Creativity is key in any career and also in personal life, especially in terms of problem-solving, relationships, kindness, compassion, and empathy. The arts, creativity, and the cultural world at large are not just nice to have; they are essential. Their value is fundamental, although sometimes it's extremely difficult to define. To see the arts lost from the developmental moments in one's life is tragic. Developmental moments in life come at all points in the arc of one's existence. To see that taken or diminished is unfortunate. Everyone involved in working with artists, artists themselves, or those who are creative knows this and believes in it.”

Today, we have with us a figure from the heart of the London art scene, Hannah Barry. At a moment when the art world often feels centered on global mega-galleries, Hannah has cultivated something truly unique in Peckham. With her gallery and the ambitious non-profit, Bold Tendencies, she has created a vibrant platform for a new generation of artists, taking risks and championing experimentation. She has been pivotal in shaping careers and bringing ambitious projects to life. We'll talk to her about the mission behind her work, her journey as a gallerist, and her latest exhibitions, including The Garden with the photographer Harley Weir.

Episode Website

www.creativeprocess.info/pod

Instagram:@creativeprocesspodcast

“I want people to understand South Asian art as broader than a single gallery or a single artist, but as a larger cultural movement. I want people to encounter art in all parts of their lives, and I’m constantly thinking about new ways to achieve that. I was very aware, as someone launching a South Asia-focused gallery, that this was the cultural dynamic that undergirded the way that most people in the West were thinking about art from the region. Taking that on directly and inviting artists to work with that theme was a really important ground for setting the ethos of the gallery and the types of critical questions we wanted to tackle with the work we were doing.”

My guest today is Rajiv Menon, a gallerist and curator who is carving out a distinctive space in the contemporary art world. Based in Los Angeles, Rajiv Menon holds a PhD from NYU, where he studied global media and visual culture, and he's also a passionate collector of South Asian art. He founded Rajiv Menon Contemporary with a clear mission: to bring artists from South Asia and its diaspora to a wider audience, and to cultivate a new generation of art collectors within these communities. His exhibitions have tackled fascinating themes, from the exuberant and sometimes overwhelming world of the Indian wedding through Viraj Khanna's intricate textile art in Why Did I Say Yes?, to a deep dive into the creativity of Kerala in Three Steps of Land, and a compelling look at how artists transform nostalgia into an aesthetic movement in The Past Is a Country. His work resonates far beyond the gallery walls, aiming to shift our collective culture. He's also recently been honored by the City of Los Angeles for his contributions to the arts. @rajivmenoncontemporary

Episode Website

www.creativeprocess.info/pod

Instagram:@creativeprocesspodcast