Sexual harassment in the workplace has become one of the most discussed issues in recent years. Women worldwide have found the courage to step forward and share their experiences. This act has been particularly important for those in societies where victim-blaming is the norm in cases of abuse. This is especially true in post-Soviet countries, where sex and sexuality were taboo topics, and sexual abuse was often seen as something for which only the victim was responsible.
Over the past few years, movements like #MeToo have exposed the uncomfortable reality of harassment in women’s professional lives. Millions of women have bravely shared their hidden traumas with the public, inspiring others to speak out.
Today, numerous foundations, activists, and supportive individuals are working to highlight these issues and assist those traumatized by such abuse. Mihail Rakov, a playwright and producer, is among those committed to creating safe work environments. This passion led him to produce the audio drama “The Call.”
For years, Rakov gathered stories shared by friends and those he encountered in the media. He wanted to create a play that could reach a wide audience. However, he recognized that producing a show like “The Morning Show” in Russia would be impossible.
In Russia, workplace sexual harassment is mostly covered by social media and a few foundations, not by state-funded TV channels. This realization brought him to the Tineodna Foundation, whose mission is to support women in difficult situations.
“My former boss tried to discourage me from getting married while simultaneously suggesting I become his mistress, living off his support. And let me remind you, at that time, I was managing a large facility, while he was the owner of the business.”
The Tineodna Foundation created a special webpage that serves as an online version of a theater stage, with an immersive twist. The set design features an image of a woman speaking on the phone, while the audio provides the audience with partial information about the plot. In this monologue, Rakov intentionally leaves space for the audience to imagine the words spoken on the other end of the line.
“It’s a very traditional story. I started working at the company as a secretary, and the CEO believed that I was obligated to fulfill sexual favors in addition to my professional duties.”
This creates an additional dimension where the abuser exists, his silence evoking the presence of a lurking monster, haunting the defenseless woman. The atmosphere of horror is palpable because no one should ever have to endure such a conversation. Rakov’s play has become a safe space for women seeking help, delivering a powerful message: no CEO should abuse their employees.
In the second part of our exclusive interview with New Orleans ceramicist Aurora Daigle, we delve deeper into her creative process and the inspiration behind her work. Aurora opens up about the delicate balance she maintains between commercial projects and personal experimentation, sharing insights into her collaborations, including a meaningful partnership with the Swedish brand A Day’s March.
Through her unique blend of traditional techniques and natural materials, Aurora’s ceramics not only reflect her artistic philosophy but also embody her mission to restore connections between self, others, and the earth. Join us as we explore the artistry and intentionality that define Aurora’s practice.
How do you balance commercial projects with personal, more experimental ones?
I determine which projects align most closely with my artistic vision, career goals, and financial needs. I develop a schedule or timeline that allows me to dedicate time to both commercial work and my personal projects. I have found that it is very important to advocate for myself as an artist by clearly communicating my boundaries, timelines, deliverables, and expectations for each project with clients or collaborators.
It’s important to ensure they understand my availability and commitment to maintaining artistic integrity. Commercial projects and collaborations are exciting because they have allowed me the opportunity to be experimental and learn a lot through the integration of new techniques, ideas, or themes, which can fuel inspiration and enrich both spheres of my creative process. I enjoy remaining adaptable to changes and building a diverse portfolio that reflects my unique artistic voice.
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Can you share the story behind your collaboration with A Day’s March? How did this partnership come about?
I feel incredibly fortunate in this life, surrounded by loving friends and family. The collaboration with A Day’s March was born from a shared vision with a dear friend. We began hosting dinners with the intention of fostering community and deepening connections.
Our goal was to create a space where people could gather intentionally around handmade food served on handcrafted ceramic plates and cups, forging bonds through shared meals in a beautiful setting.
Chevy Wolf, my biggest supporter and closest friend, played a pivotal role in making this vision a reality. His enthusiasm and belief in our idea helped bring our collaboration with A Day’s March to fruition.
How do you integrate both your personal style and the brand’s identity into your custom plate designs for A Day’s March?
Collaboration and cooperation are skills that many people aren’t open to accepting, but I believe beautiful things are birthed out of that kind of spontaneity and meeting; it requires good communication and flexibility.
You’ve worked with various printmaking and painting processes. How do these techniques complement your ceramic work, and do you ever combine them?
I have started to experiment with relief carving on my ceramic pieces, and I am really happy with the results. There is endless learning and experimentation within the world of ceramics, and I love learning and exploration, so I will never get bored. I am a continuous life-long learner.
Your practice often involves natural and found materials. How do these elements influence your ceramic work, and were they incorporated into the custom plates?
Natural and found objects play a significant role in shaping my ceramic creations. Working with natural materials is fundamental to my artistic process as it connects me deeply to the earth. I find inspiration in the textures and forms of natural elements, often mirroring them in my ceramic pieces. My discoveries in nature awe and influence me profoundly.
When I considered the collaboration with the brand and designing the plates, my thoughts naturally gravitated towards Sweden’s landscapes, waterways, and cultural traditions. Researching Swedish folk designs immersed me in their depiction of the natural world’s beauty, echoing the experiences one might encounter in Sweden. Our experimentation with cobalt blue, a natural element with a rich history in ceramics and pottery, further enriched the thematic connection to natural elements within the custom plates.
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You’ve studied both sculpture and creative art therapy. How do these disciplines inform your approach to ceramics and your artistic philosophy?
My art practice serves as a ritual of self-return—a way to nurture my mind’s garden, reconnect with ancestors and ancient customs, and embrace the unfolding of time with both simplicity and complexity. It’s about meeting each creation with gentleness, compassion, and authenticity, allowing them to evolve naturally. Working with clay feels akin to engaging in a dialogue with a living entity; through my fingertips, I sense its emergence and purpose, guiding its journey into being.
This approach mirrors the therapeutic relationships I foster in creative arts therapy. It has taught me grace in my artistic endeavors, silencing the internal perfectionist voice. I believe our art reflects our inner landscapes; my pieces transport me to a realm where I feel deeply interconnected with the natural world.
Aurora Daigle by Taja Janel
They echo a time of earth goddess religions, where ceremonies and artifacts held feminine power, now often overlooked or degraded. Through my work, I aim to revive and celebrate these lost narratives, offering a glimpse into a world both ancient and imagined, where women once lived in harmony with their essence, untouched by the oppression of their power.
Your work aims to restore relationships with self, others, and the earth. How does this mission manifest in your ceramics and other artworks?
Ceramics has been a profound connector for me within communities of women, and I envision this connection deepening as I embark on future artistic endeavors that allow for travel and exploration. Recently, I was gifted wild clay by two friends who collected it during their time spent in nature. These beautifully colored earth samples now entrust me with their potential, and I am eagerly preparing to process and incorporate them into my work.
Looking ahead, my plans include facilitating group therapeutic clay sessions or “clay ceremonies.” As both an art therapist and ceramic artist, these sessions offer a powerful opportunity for people to come together in community. They can experience the therapeutic benefits of working with clay in a safe and nurturing environment, fostering healing and connection.
In both my ceramics and therapeutic practice, the mission to restore relationships—whether with oneself, others, or the earth—guides my creative process and intentions. Each piece and session is a testament to the transformative power of art in fostering deeper understanding and connection within ourselves and our communities.
Hyacinthe Baron, a revered Master Artist known for her remarkable contributions to art and fashion, passed away at the age of 88. With a career spanning decades, Baron inspired countless emerging artists and art lovers with her dedication and talent.
Baron’s journey began as a child prodigy at the age of 9, when she was admitted to adult classes at The Art Students League in New York City. She gained international acclaim with her Motherhood series of paintings in the 1960s and became the first woman artist to open her own gallery on Madison Avenue in 1974.
In the 1980s, she pioneered the hand-painted fashion industry after creating a dress for Jacqueline Kennedy Onassis, leading to collaborations with renowned designers like Oscar de la Renta, Mary McFadden, Diane von Fürstenberg, and Calvin Klein.
Inspired by André Malraux’s concept of the Museum Without Walls, Baron worked with Pratt Institute to establish their School Without Walls program.
Throughout her career, her art was widely collected by public and private institutions, as well as celebrities such as Marilyn Monroe, Jacqueline Onassis, and Martha Raye.
In her later years, Baron wrote novels set in the art world, co-authored the drawing guidebook “Seeking the Silent Stranger,” and was featured in the documentary “House of Hyacinthe.” She found a home at The Studio Door gallery, where she maintained a working studio, connecting with and mentoring local artists.
“Hyacinthe was a true inspiration, both as an artist and a friend,” said Patric Stillman, owner ofThe Studio Door. “Her collaborations and dedication to art will be remembered and cherished by all who knew her.”
Reflecting on her life’s work, Baron once said, “My life has been a journey and search for the Silent Stranger through values and ideas. Always looking for a way to disregard the pain of reality to immerse myself in beauty. Along the path, I made the discovery that inspiration is not random. I continue to strive in the purest sense, to capture emotions and a sense of power drawn from individual experience when creating.”
Baron described her art as “transmigrational,” a term she coined to express the duality of human nature and the harmony of mind and body. “Who is the woman in my art? She is a symbol. An icon and metaphor of the beauty of the human spirit. Proud, sensual, powerful, controlling the primitive and the wild.”
Aurora Daigle, born and raised in the enchanting city of New Orleans, is an interdisciplinary artist whose work captivates the essence of her vibrant upbringing. A graduate of the San Francisco Art Institute with a Bachelor’s in Fine Art, majoring in sculpture, and a Master’s degree in Creative Art Therapy from Pratt Institute, Aurora’s journey into artistry is both profound and inspiring. Her practice, which incorporates natural and found materials along with various printmaking and painting techniques such as relief on wood or linoleum, silkscreen, and acrylics, aims to restore and cultivate relationships with the self, others, and the earth.
In this exclusive interview, Aurora delves into her childhood experiences, the powerful influence of her family matriarchs, and how the rich culture and history of New Orleans continue to inspire her work as a ceramicist and artist.
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Can you share details about your childhood, family, and the environment you grew up in? Were you an artistic child?
I am the youngest and only girl in my family, raised by an incredible mother who single-handedly nurtured my three older brothers and me. She instilled in me a deep sense of freedom to express myself fully, and her boundless love and vibrant spirit continue to inspire me. Growing up in New Orleans, Louisiana, immersed me in a world of enchantment and mystique. The magic and spirits in its swamps captured my imagination early on. New Orleans is undeniably filled with creative expression, bursting with colors, sounds, charisma, and romance.
From a young age, I possessed an active imagination and a love for dance. I vividly remember writing letters to fairies who I believed dwelled around our home. Whether dancing barefoot under ancient live oaks, on broken sidewalks, or in the aisles of the Winn-Dixie grocery store, I inhabited every space with a sense of fluidity and artistry. Movement became my language, reflecting the softness and grace I absorbed from my surroundings and experiences.
What inspired your journey into becoming an artist?
My journey into artistry was deeply influenced by the women in my family—the matriarchs. My grandmother, my mother, and her sister were true artists in every sense. They infused beauty and meaning into everything they touched, whether it was through celebrations, food, quilts, or a simple conversation. Their care for each other and their families was an art form in itself, and it ignited my own artistic spark.
The power and beauty of Mother Nature have always captivated me. From wild tropical weather to lush flora and fauna and the rhythmic movements of bodies of water, I find inspiration in the intricate dance of life. I feel a profound connection to the natural world and strive for a reciprocal relationship with it through my work. Additionally, I’ve always been fascinated by the rituals, customs, and ceremonies that shape people’s lives and connect them to their communities, plants, animals, and the earth itself. These elements form the foundational inspiration for my artistic expression.
New Orleans is a city rich in culture and history. How does your upbringing in New Orleans influence your work as an artist and ceramicist?
New Orleans, a city steeped in rich culture and history, has profoundly shaped my journey as an artist and ceramicist. Growing up amidst its vibrant tapestry of diverse influences—from the echoes of ancient practices to the resilience of its people—I found myself drawn to the beauty found in imperfection and the depths of emotion.
The city’s complex history, like a patchwork quilt woven from the threads of diverse cultural legacies, inspired in me a deep curiosity about animism and reverence for ancient traditions. The palpable remnants of the old world around every corner fueled my fascination with sacred practices and the stories of those who lived in harmony with their environment, as well as those who boldly resisted and liberated.
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My artistic expression often revolves around themes of rebirth, world-building, and the sacred feminine—a tribute to the resilience and wisdom that New Orleans embodies. Just as water holds memory, my connection to the winding river that cradled me remains intrinsic to my work. Creating vessels that hold water or letting water hold me is a continual homage to this connection.
Growing up in New Orleans also instilled in me an awareness of the potent influence of figures like voodoo priestesses—women who wielded knowledge, wisdom, and the power of herbs and word spells. Their legacy resonates in my art, where each piece becomes a portal to a world both ancient and newly imagined—a sanctuary where the denigrated artifacts of feminine power are honored and restored.
I was told by a friend recently that they can see expressions of New Orleans in my ceramic pieces in the colors, textures, tones, and shapes, the subtleties, and the details. I think that is unavoidable due to how much I’m endlessly in awe of the beauty that exists in this big little city.
In essence, my art is an ongoing narrative of homage and creation. New Orleans continues to be my muse and my guide in this journey of artistic exploration and discovery.
Reflecting on your art career, can you pinpoint any significant events that greatly influenced your artistic development?
In my twenties, I lived in the Bay Area and attended one of the oldest art schools on the West Coast, nestled in the vibrant city of San Francisco. This period was pivotal for my artistic growth. I discovered firsthand the profound impact of art on human existence and began to understand its critical role in our survival.
During this time, I encountered artists whose work resonated deeply with me and expanded my artistic horizons. Icons like Ana Mendieta, Wangechi Mutu, Simone Leigh, and Kara Walker not only fascinated me but also challenged and inspired me to explore new depths in my own creative journey. Their contributions left an indelible mark on my artistic perspective and continue to influence my work to this day.
How do you generate innovative ideas for your art?
I spend time alone. I observe and I listen.
As an artist, what challenges have you faced and overcome in your creative journey?
I have grappled with significant self-doubt, questioning whether I deserved a place in the art world and whether I had the capability to succeed. Logistically, finding dedicated space and time for my artistic practice has been an ongoing struggle. Balancing the demands of life with prioritizing my talent and desire for self-expression has been a challenge. However, as I’ve matured, I’ve come to realize that art is not just a passion but a vital tool for my survival, healing, and personal growth. This understanding has empowered me to confront these challenges head-on and continue to evolve as an artist.
Willem de Kooning, a luminary of Abstract Expressionism, not only revolutionized the art world with his bold, gestural paintings but also saw his works sell for astronomical sums, cementing his legacy as one of the most financially successful artists of the 20th century. His life, a whirlwind of artistic triumphs, personal dramas, and glamorous highs, reads like a compelling narrative of passion, struggle, and ultimate acclaim.
Record-Breaking Sales
De Kooning’s masterpieces have fetched record-breaking prices, captivating collectors and connoisseurs alike. In November 2006, American business magnate David Geffen sold de Kooning’s “Woman III” to hedge fund manager Steven A. Cohen for a staggering $137.5 million.
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This transaction was just shy of the record at the time, which involved the same players for Jackson Pollock’s “No. 5, 1948,” sold for $140 million. Just a month earlier, Cohen had acquired another de Kooning piece, “Police Gazette,” from Geffen for $63.5 million.
The pinnacle of de Kooning’s market value came in September 2015 when Geffen sold “Interchange” to hedge-fund billionaire Ken Griffin for approximately $300 million. This sale set a new record for the highest price ever paid for a painting at that time.
“Interchange” by Willem de Kooning, 1955
In November 2016, another de Kooning work, “Untitled XXV,” sold for $66.3 million at Christie’s in New York, setting a new auction record for his pieces.
Early Life and Artistic Beginnings
Born on April 24, 1904, in Rotterdam, Netherlands, de Kooning’s early life was anything but glamorous. After his parents divorced when he was three, he navigated a challenging upbringing in a working-class environment. His artistic talent was evident from a young age, leading to an apprenticeship at a commercial art firm and night classes at the Rotterdam Academy of Fine Arts and Applied Sciences.
Willem de Kooning, 1968
Driven by a dream to break into the American art scene, de Kooning stowed away on a British freighter in 1926, arriving in Newport News, Virginia. He eventually made his way to New York City, where he juggled jobs as a house painter and commercial artist while fervently pursuing his passion for painting.
The New York Art Scene and Rise to Fame
De Kooning’s foray into the New York art scene was marked by influential friendships and formative experiences. His relationships with artists like Arshile Gorky and Stuart Davis played a pivotal role in shaping his early work, which featured geometric shapes and vibrant colors, drawing inspiration from modernist pioneers such as Picasso and Miró.
“Gansevoort Street” by Willem de Kooning, 1949 | Photo by Frank Tang
The late 1940s saw de Kooning delve into black-and-white abstract paintings, a significant period that laid the groundwork for his later acclaim. His first solo exhibition in 1948 at the Charles Egan Gallery showcased these works, catapulting him into the spotlight.
The Woman Series and Abstract Expressionism
The 1950s were transformative for de Kooning, particularly with his “Woman” series. These paintings, beginning with “Woman I,” showcased his intense, gestural brushwork and fragmented, almost violent, representations of the female form. Controversial and provocative, they established him as a leading figure in the Abstract Expressionist movement, alongside contemporaries like Jackson Pollock.
“Woman Standing – Pink” by Willem de Kooning, 1954-55 | Photo by Frank Tang
De Kooning’s exploration of the female form was deeply personal. His tumultuous marriage to Elaine de Kooning, an artist in her own right, was marked by both collaboration and conflict. Their relationship, characterized by open infidelity, alcoholism, and periods of separation, mirrored the chaotic energy of his paintings.
Drama and Glamour
De Kooning’s life was steeped in drama and glamour. His marriage to Elaine was an open one, with both engaging in numerous affairs. Elaine’s relationships with influential figures like art critic Harold Rosenberg and ARTnews editor Thomas B. Hess helped further Willem’s career. Meanwhile, de Kooning had a daughter, Lisa, with Joan Ward in 1956 and was romantically involved with Ruth Kligman, who had previously been Jackson Pollock’s lover until his tragic death in a car crash.
“Woman Standing – Pink” by Willem de Kooning, 1954-55 | Photo by Frank Tang
Despite their personal turmoil, Willem and Elaine remained connected through their shared passion for art. Elaine’s fierce independence and dedication to her own career often led to fiery clashes, yet their bond endured, culminating in a reunion in 1976 after nearly two decades of separation.
Financial Triumphs
As de Kooning’s reputation soared, so did the value of his work. By the end of the 1950s, he was considered one of the most influential painters globally. This acclaim translated into financial success, particularly in the 21st century. His paintings became highly sought-after commodities in the art market, fetching record-breaking prices that reflected their immense cultural and artistic value.
“Woman III” by Willem de Kooning, 1953
In 2006, the sale of “Woman III” for $137.5 million and “Police Gazette” for $63.5 million underscored the high demand for his work. However, it was the sale of “Interchange” for approximately $300 million in 2015 that truly shattered records, demonstrating the enduring appeal and significance of his contributions to modern art.
Legacy and Influence
Willem de Kooning’s impact on the art world is immeasurable. By the end of the 1950s, he was widely regarded as a pioneer of Abstract Expressionism, a movement characterized by its emotive intensity and innovative techniques. His unique approach to “action painting” and his bold, expressive style left an indelible mark on the trajectory of modern art.
“Gansevoort Street” by Willem de Kooning, 1949 | Photo by Frank Tang
From his humble beginnings in Rotterdam to the heights of the New York art scene, de Kooning’s story is one of relentless passion, artistic innovation, and personal complexity. The drama and glamour of his personal life, intertwined with his professional achievements, paint a vivid picture of an artist who lived and created with intensity and fervor.
De Kooning’s legacy, both as a pioneer of Abstract Expressionism and as a cultural icon, endures, reflecting the profound impact of his vision on the world of art. His meteoric rise and record-breaking sales are not just testaments to his financial success, but also to the enduring power and relevance of his artistic genius. Willem de Kooning’s influence extended beyond his lifetime, with exhibitions of his work continuing to draw acclaim well into the 21st century.
California-based mixed media artist Nancy Jo Ward is bringing her evocative portraits to the Tokyo Metropolitan Art Museum for Japan’s 23rd International Art Exchange Exhibition from June 15-20, 2024.
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Ward creates rich, emotionally resonant figurative art using a hybrid approach that includes digital drawing, painting, and the use of gold and silver foils. Blurring the lines between pixels, paint, and algorithm, she shapes unique images that delve deep into the minds and hearts of her subjects.
Working with a lush color palette, the artist offers archival prints on aluminum, each hand-finished using acrylics, oils, and pastels. The dreamy, vibrant result is alchemic and graceful. Ward manifests poignant, vivid portraits that speak powerfully to the inner depths of her subjects’ spirits while inviting viewers to partake in an intimate and profound dialogue with her subjects. Her passion for color, texture, and movement meshes with a fusion of digital and analog techniques that push beyond conventional artistic boundaries.
Ward’s robust intersection of mediumsresults in hauntingly lovely works, whose delicacy and depth shape a profound, light-filled grace, one which encourages exploration and transformation within subject and viewer alike. Her images form compelling visual narratives based on contemporary female identities that express emotions ranging from loss and grief to comfort and contemplation.
For the Tokyo exhibition, she will be showing three of her mixed-media works: Taisha, Jesslyn, and Pantsuit Nation, each depicting a compelling female subject in nuanced rainbow shades.
The artist’s fluid and lustrous works will be showcased among those of 57 visual artists from the United States, including images from iconic artists Jackson Pollock and Prince Yisehak Fikre Sellassie. Ward considers it an honor to be included in a “celebration of diversity, cultural specificity, and individual expression of the human condition.” Her own work serves as an intrinsic part of this celebration.
A professor of art and design at Allan Hancock College in Santa Maria, California, Ward received her Master of Arts with Distinction in Digital Fine Art from the University of the Arts London in 2018. Her hybrid portraiture work has been featured globally in numerous exhibitions; her experimental video Aura won an award at the 13th Concorso d’Arte Donne in Rinascita in Milan, Italy, in March of this year.
The exhibition will be held at: Tokyo Metropolitan Art Museum, 1F Citizens Gallery 3, 8-36 Ueno Park, Taito-ku, Tokyo 110-0007, Japan, from June 15-20. For more information about Ward and her artwork, visit NancyJoWard.com
In the second and final part of the exclusive interview with Prof. Megan Heber, she emphasizes the importance of flexibility, continuous learning, and building a robust network for achieving success in the arts sector. She recounts a memorable experience from her tenure in the United States Navy Music Program, performing for Pearl Harbor survivors, which highlighted music’s emotional and communal power and reinforced her commitment to excellence.
Heber’s dual degrees in business and arts management have equipped her with a balanced perspective on integrating creative vision with practical strategies. She advises aspiring professionals to stay proactive, open to new opportunities, and continuously adapt. Looking ahead, Heber envisions the arts driving significant social change and promoting inclusivity, with technological advancements expanding their reach and impact, creating a more open and diverse art world.
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What advice would you give to someone who is seriously interested in achieving success in the art sector? Is there a road map to such success and how can those who are just starting on this path minimize risk?
First and foremost, it’s crucial to embrace flexibility and continuous learning. The arts are an ever-evolving field, with new trends and technologies emerging constantly. Staying adaptable and committed to lifelong learning will not only keep you relevant but also open doors to new opportunities that might otherwise be missed.
Equally important is the need to build a robust network and seek mentors. Having mentors provides a source of guidance and support, offering insights that can help you navigate the complexities of the arts sector.
Approach your career with passion and purpose. The journey can sometimes be challenging, but a deep-rooted passion for your work will fuel your perseverance and drive your creativity, making the obstacles more manageable and the achievements more fulfilling.
Lastly, adopt a giving mentality. Consider what you can offer to others rather than just what you can gain. Celebrate the successes of your peers alongside your own. This approach not only fosters a supportive community but also reinforces the idea that ‘a rising tide lifts all ships.’ Witnessing the success of my colleagues, students, or friends, genuinely celebrating their achievements, and contributing in any way to their triumphs has provided some of the most memorable and rewarding moments of my life.
Could you share a memorable experience from your time serving in the United States Navy Music Program? How did that experience influence your subsequent career in the arts?
During my tenure in the United States Navy Music Program, one of the most memorable and profound experiences was performing annually for the survivors of Pearl Harbor on the anniversary of the attack. Each year, we held a ceremony that included a private remembrance on the Arizona Memorial. This solemn occasion was not only a tribute to the resilience and courage of those who served and sacrificed but also a profound reminder of the power of music to heal and commemorate.
This experience deeply influenced my approach to the arts in several ways. Firstly, it underscored the emotional and communal impact of music, reinforcing my belief in its capacity to bring people together and provide solace during times of collective mourning or reflection.
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Secondly, these performances taught me about the importance of precision and excellence in presentation, traits that are invaluable in any artistic endeavor. Every note played and every piece performed had to be delivered with the utmost respect and professionalism, reflecting the solemnity of the occasion.
Furthermore, this experience shaped my understanding of the role of arts organizations in society. It demonstrated that they are not merely venues for entertainment but vital institutions that serve a broader community function, including commemoration, education, and healing. This realization has driven my commitment to ensure the arts are accessible and relevant to all segments of society.
You hold multiple degrees, including an MBA and an MA in Arts Management. How have your educational experiences shaped your understanding of the intersection between business and the arts?
Earning both an MBA and an MA profoundly shaped my understanding of the delicate balance between creative vision and practical business strategy.
The MBA equipped me with critical business management skills and acumen, including accounting, financial analysis, and economics, essential for effectively leading complex organizations. These skills provide a foundation for making sound decisions that ensure sustainability and growth.
Conversely, the MA allowed me to dive deep into the unique challenges and opportunities within the arts and nonprofit sectors. It focused on audience development, nonprofit governance, fundraising, and the impact of the arts on society. This knowledge helps me nurture and promote the arts in a way that respects their unique value while ensuring their longevity and relevance.
Together, these degrees have demonstrated to me that business and the arts are not at odds but can greatly benefit from each other. Implementing sound business strategies in the arts can lead to greater efficiency and sustainability, while embracing the creative and transformative power of the arts can lead to more innovative and meaningful business practices.
As someone who has transitioned between various roles within the arts sector, from executive director to event coordinator, what advice do you have for individuals navigating their careers in this field?
One of the most valuable lessons I’ve learned is the importance of staying open to new opportunities. The arts are exceptionally dynamic, constantly shaped by new technologies, shifting cultural policies, and emerging trends. To thrive in this environment, you must be willing to step outside your comfort zone and embrace the unexpected. Flexibility has been key; whether that’s adapting to new roles or exploring new areas, each experience has expanded my ‘toolkit’.
My advice to anyone navigating their career in the arts is to remain proactive and not just wait for opportunities but actively seek them out. Build a diverse network of contacts, continue learning, and be ready to shift when necessary. The arts sector can be unpredictable, but with a proactive and open-minded approach, it also offers unparalleled opportunities for growth and creativity. Being prepared to take on various responsibilities and learning from each of them is crucial. After all, each role offers unique insights into the complexities of arts management.
Looking ahead, what do you envision for the future of the arts world and its potential to create social change, both locally and globally?
Looking ahead, I feel optimistic about the future of the arts world and its capacity to drive significant social change, both at local and global levels. The arts have always been a powerful medium for expressing universal human experiences and emotions, connecting diverse groups across different cultures and backgrounds. As we move forward, I believe the arts will play an even more critical role in addressing pressing societal issues, fostering dialogue and understanding, and promoting inclusivity.
Technological advancements are set to expand the reach and impact of the arts further. Digital platforms will allow artists to share their work with a global audience and engage communities in ways that were not previously possible, breaking down geographical and socioeconomic barriers. This increased accessibility will likely lead to a more open art world where diverse voices and stories are heard and valued.
Amedeo Modigliani, “Small red nude”, oil on canvas, 33 x 55 cm, Private Collection
By Giancarlo Graziani and Salvatore Prato | Ce.St.Art. – Center for Studies of Art Economy
In the work of Amedeo Modigliani, the years 1916 and 1917 were of great importance due to the encounters that marked his life and his art. In 1916, he met Léopold Zborowski, a Polish poet and writer from the Parisian colony, who became an art dealer out of necessity and passion. Zborowski faced sacrifices, achieved success, and then lost it due to the Great Depression; he died in poverty in 1932, bound together by ultimate destiny with his protégé.
In 1917, during the spring— the most appropriate season— he met his life partner Jeanne Hébuterne, a talented painter and pupil of the Académie Colarossi, founded in Paris by the Italian model and sculptor Filippo Colarossi. At that time, Modigliani was 34 years old and already a mature painter but needed to improve his practice of the nude. He began to attend the courses at the Académie Colarossi, which were open to women, unlike those of the public academies.
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His improvement in the practice of the nude was driven and financed by Zborowski, who, as a shrewd dealer, saw in this type of painting a good commercial as well as artistic proposition. The Livornese artist had already dealt with the female nude in his early years, around 1908, with some studies that certainly have nothing in common with those that followed. The “Caryatids” from the years 1911-1912, which exist as studies for his sculptural activity, should be considered separately. It should not be forgotten that Modigliani proudly defined himself as a sculptor and abandoned this art due to costs and health conditions, which did not allow him to make the required efforts.
Only in 1916 did he return to the “Nudes,” after having relied on “Zbo,” the nickname with which Modigliani called Zborowski. He created a first series of nudes that, while not as beautiful as those that would follow, were marked by a strong sensuality that Modigliani, a lover of female beauty, was able to transpose onto canvas.
1917 is the year of the “Nudes,” with about a third of his known production from those twelve months dedicated to this subject, achieving extraordinary results compared to those a few months earlier, before attending the free school of Colarossi and falling in love with Jeanne.
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It is difficult to explain this clear improvement except by the collaborative practice of painting that Amedeo and Jeanne engaged in, blending their talents in a state of grace that made these works among “the most famous, and paid, nudes in the history of art.” The gap with the previous ones is too wide to be bridged in such a short time merely by correcting an already established pictorial style.
However, this does not detract from the correctness and importance of the works created in such a symbiosis of spirit, to be considered as one: Modigliani— as Jeanne also used to sign herself— although she remained Hébuterne to the world. The importance that Zborowski gave to this production is clearly seen from the invitation flyer created for the only personal exhibition held while the artist was alive: the famous one at the Galerie Berthe Weill from December 3 to 30, 1917. The flyer prominently featured the drawing of a “Standing Nude,” an eye-catching preview of the four nudes (numbers 17, 18, 30, and 31) included and displayed in the shop window, which the Parisian authorities required to be moved to the internal spaces, removing them from external view.
Brochure of the Modigliani exhibition that was held at the Galerie Berthe Weill in 1917
There is no certainty about which specific “Nudes” were featured, although identifications have been attempted. The idea worked, and the “Modigliani Nudes” received significant notoriety and moderate appreciation in the artistic community, along with good commercial success. This success was further strengthened after the deaths of the artist and his life partner. The majority of the known “Modigliani Nudes” trace their provenance back to the Polish dealer, Zborowski.
However, the idyllic phase did not last long. By 1918, the few remaining “Nudes” took on the appearance of portraits without clothes, losing the characteristic sensuality of the earlier works. Upon returning from a stay on the French Riviera, Modigliani painted three tired nudes in which the brilliance and passion of the earlier pieces had disappeared. His life partner, Jeanne, was no longer there to paint with him but only to wait for an end that ultimately gave him immortal fame.
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The most successful period for the “Nude” was short, spanning only a few months between April and December 1917. However, it produced masterpieces that are highly sought after in the art market. These works have fetched astounding prices, with notable sales including the “Red Nude” (Nu couché) sold by Christie’s in 2015 for 170 million USD, the “Nude reclining, on the left side” (Nu couché sur le côté gauche) sold by Sotheby’s in 2018 for 157 million USD, and the “Nude sitting on a divan” (Nu assis sur un divan – La Belle Romaine) sold by Sotheby’s in 2010 for 68 million USD, among the highest and most recent.
Amedeo Modigliani, “Red nude”, oil on canvas, 59.9 x 92 cm, Long Museum, China
But given the multiple sales of these last two paintings, which returned to the auction block after a few years, what should we expect when it happens again or when a previously unseen Nude appears in an auction room?
For example, the “Small Red Nude,” recently rediscovered in a private collection, has been identified through studies as the prototype of the “Modigliani Nudes” as well as the primordial idea of the famous “Red Nude” (the latter was enlarged with some uncertainty to make its larger dimensions more commercially attractive). This “Small Red Nude” exceptionally includes the signature “dedo,” which is published in this article for the first time.
Amedeo Modigliani, “Small red nude”, oil on canvas, 33 x 55 cm, Private Collection
Amedeo Modigliani, “Small red nude”: signature “dedo”
Modigliani’s artistic work has significantly increased in value since the 1960s, reaching very high hammer prices in the second decade of the 21st century, and achieving the absolute top of the international market. Until that time, Modigliani was not considered on par with pioneers of Modern Art such as Matisse, Picasso, Braque, and Léger. Modigliani’s paintings did not reach the threshold of 50,000 USD, while those of the four major exponents recorded peaks even three times higher.
The particular recognizability of his style has since soared the demand for his paintings, as all the major collectors and most museums sought to have a significant record of Amedeo Modigliani, the paradigmatic example of the Modern Artist. His portraits have been increasingly appreciated, especially those featuring his life partner Jeanne. Their romantic and dramatic relationship has certainly contributed to the allure of Modigliani’s work, where the two talents come together in total symbiosis.
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There has always been particular demand for “Modigliani’s Female Nudes.” Cunningly stimulated by Zborowski, this demand has created strong anticipation for their entry onto the exchange market, also due to their rarity: to date, there are only about ten of these paintings in private collections, which therefore boosts the very strong demand.
Under particular conditions, such as during the Second Great War, the “Reclining Nude with Arms Behind the Head” (Ceroni Catalogue, no. 148), now in Zurich, changed hands in Paris in 1940 for 34,000 French francs, less than 1,000 USD—a fair price for a portrait at that time.
Amedeo Modigliani, “Reclining nude with arms behind the head”, oil on canvas, 65.5 x 87 cm, Foundation Emil G. Bührle Collection, Zurich
The rise then became dizzying from 1984 when the “Reclining Nude with Hands to Face – La Reveuse (The Dreamer)” (Ceroni Catalogue no. 197), now in New York, changed ownership for 4,620,000 USD. This was an important figure at the time, but one that would pale in comparison to future sales.
Amedeo Modigliani, “Reclining nude with hands to face – La Reveuse or the Dreamer”, oil on canvas, 59.7 x 92.1 cm, Private Collection
Seven years later, the “Seated Nude with Coral Necklace” (Ceroni Catalogue no. 187), now in New York, was estimated between 7 and 10 million USD and reached the price of 12,432,000 USD, triple the previous amount. In 1997, the “Reclining Nude on a Divan, Arms in the Back of Her Head” (Ceroni Catalogue no. 144), also in New York, was auctioned with an estimate slightly higher than the previous price—10 to 12 million USD—but remained unsold. This was likely due to the lesser success of the painting compared to the very famous ones of 1917, which were of significantly superior workmanship due to the presence of Jeanne, and would later achieve exceptional performances.
In 1999, it was the turn of the “Nude Sitting on a Divan – La Belle Romaine” (Ceroni Catalogue no. 192), now in New York. Supported by its probable presence at the famous exhibition of the Weill Gallery, it stopped the auctioneer’s hammer at 15,250,000 USD, foreshadowing the sensational exploits of a few years later.
Amedeo Modigliani, “Nude sitting on a divan – La Belle Romaine”, oil on canvas, 100 x 65 cm, Private Collection
Seven years later, the “Seated Nude with Coral Necklace” (Ceroni Catalogue no. 187), now in New York, was estimated between 7 and 10 million US dollars and reached the price of 12,432,000 US dollars, triple the previous one.
In 1997, exceptionally, the “Reclining Nude on a Divan, Arms in the Back of Her Head” (Ceroni Catalogue no. 144), today in New York, was auctioned with an estimate slightly higher than the previous price – 10/12 million US dollars – but remained unsold. The reason certainly lies in the lesser success of the painting compared to the very famous ones of 1917, which were of significantly superior workmanship due to the presence of Jeanne, and would later achieve exceptional performances.
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In 1999, it was the turn of the “Nude Sitting on a Divan – La Belle Romaine” (Ceroni Catalogue no. 192), also now in New York. Supported by its probable presence at the famous exhibition of the Weill Gallery, it stopped the auctioneer’s hammer at 15,250,000 US dollars, reserving the sensational exploit of a few years later.
Amedeo Modigliani, “Nude reclining, on the left side”,oil on canvas, 89.5 x 146.7 cm, Private Collection
In 2006 there was a reconsideration given some versions of the work “Nude standing – Venus” (Ceroni Catalogue nr. 189), now in New York, which however – from an indication of 6/9 million US dollars – reaches 15,920,000 US dollars, confirming the price of the late twentieth century.
Amedeo Modigliani, “Nude standing – Venus”, oil on canvas, 99.5 x 84.5 cm, Private Collection
But it is between 2010 and 2018 that prices become unimaginable under the pressure of demand. In 2010, the “Nude Sitting on a Divan – La Belle Romaine”, after just eleven years, was offered at auction again, achieving 68,962,500 US dollars with a price increase of over 53 million US dollars, more than four times.
This result certainly contributed to the decision to bring the “Red Nude” (Ceroni Catalogue no. 198) onto the market in 2015, now in China, which set the highest price achieved to date at 170,405,000 US dollars.
However, it’s also worth mentioning the return to the market after fifteen years, in 2018, of the “Nude Reclining, on the Left Side”, which, undoubtedly driven by the success of the preceding painting, achieved a positive performance of 484.2%, reaching 157,159,000 US dollars, confirming the level of these works with an increase of 131 million US dollars.
In an exclusive interview, we delve into the life and career of Professor Megan Heber, whose early immersion in music laid the foundation for a captivating journey in arts management. Her trajectory has been marked by diverse roles, from her tenure as a military clarinetist to her dedicated teaching in the arts. Megan’s narrative underscores the profound influence of each endeavor, informing her distinctive methodology in leveraging arts education to foster community development and catalyze social progress.
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Can you tell our readers about your childhood, family, and the environment you grew up in? Were you an artistic child?
I grew up in New Jersey, where my early experiences with music at school left a significant mark on my life. From a young age, I was deeply engaged in music, playing the clarinet and participating in every musical opportunity available, from all-state band to marching band to musical theater orchestras.
Music was a family passion—my mother was a musician, and today, my sister is a middle school band director. Some of my earliest memories include my grandfather playing Sousa marches on his record player, a sound that resonated throughout his home nurturing my love for music. This early immersion in music not only set the stage for my future career in arts management but also instilled a deep appreciation for the arts’ educational power.
Your journey in the arts seems to have been quite diverse, from serving in the military as a clarinetist to now teaching arts management. How has each experience contributed to your approach to utilizing the arts for social impact?
Serving as a clarinetist in the military influenced my understanding of how the arts can inspire morale and foster a deep sense of pride and unity among people. In the military, music is more than entertainment; it’s a tool for uplifting spirits and strengthening the collective resolve of citizens and troops. This experience taught me the powerful role that arts can play in enhancing communal bonds.
Transitioning to arts management, I’ve carried forward these insights into how the arts can bridge connections between artists and audiences. In this role, I focus on creating platforms where artistic expression not only entertains but also enlightens and educates. By showcasing the common bonds of humanity, arts management allows me to extend the social impact of the arts, connecting people to larger causes and to each other.
Each of these experiences has reinforced my belief in the arts as a dynamic force capable of building communities and promoting social change by uniting people around shared experiences.
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What sacrifices did you have to make to achieve everything that you have so far?
Achieving my professional goals has indeed required sacrifices, particularly in terms of time and personal commitments. The path to where I am today involved continuous education and development, which often meant dedicating evenings and weekends to study and work, rather than personal time or leisure. Additionally, my career progression sometimes necessitated relocating to different cities or countries, which involved leaving familiar settings, friends, and sometimes family behind.
These choices were not made lightly, but they were essential. Each move and every hour spent working or learning was a step towards greater professional fulfillment. Looking back, the sense of accomplishment and the impact I’ve been able to make affirm that these sacrifices were indeed worthwhile. The opportunity to contribute meaningfully to the arts and to influence the sector positively offers a profound sense of achievement that continues to drive my passion and dedication to my work.
As a professor of practice in arts management and nonprofit leadership, what do you believe are the most critical skills for aspiring arts managers to develop in today’s rapidly changing landscape?
As a professor of practice in arts management and nonprofit leadership, I emphasize the importance of adaptability and vision for aspiring arts managers. In today’s rapidly changing landscape, it is crucial that managers not only respond to challenges but also see them as opportunities for innovation and growth. In addition, recognizing that at the core of all decisions are people, effective arts managers must also prioritize empathy and understanding, ensuring that their strategies and initiatives are deeply connected to the communities they serve. These skills are vital for creating meaningful impact.
How has the art world changed over your lifetime and where will it be in the next 10 years?
Over my lifetime, the art world has experienced profound changes, particularly in becoming more inclusive and technologically integrated. This trend of broadening perspectives is likely to continue over the next decade. A significant shift has been the gradual movement away from the traditional Western canon, slowly bringing previously marginalized art forms and artists into the spotlight. This expansion not only diversifies what we consider “mainstream” art but also enhances our appreciation of global cultures and histories.
Looking ahead, I anticipate a deeper integration of digital and traditional artistic experiences. This fusion will likely extend art’s reach, facilitating greater global access and engagement. Technologies like artificial intelligence are poised to transform various parts of arts management, from operations to funding processes to business models. Yet, as our reliance on digital technology grows, there seems to be an increase in the desire for analog and human-centric experiences. My undergraduate students often express a desite for more authentic human connections, indicating a demand for a blend of digital and personal interactions rather than a “or” choice between the two.
Could you share a particularly impactful project or initiative you’ve been involved in during your time at SMU’s Division of Corporate Communication and Public Affairs? How did it align with your vision of using the arts for positive change?
One of my favorite projects has been an academic collaboration with TACA (The Arts Community Alliance) through their Arts Accelerator program. This initiative supports small and emerging arts organizations in Dallas, providing them with critical development resources.
In this project, my undergraduate students assumed real-world consulting roles, engaging directly with these organizations. Each student was tasked with creating a comprehensive 50-page marketing analysis and plan for one of the six participating organizations. They then collaborated to merge their individual plans into a unified final presentation, highlighting the strongest strategies to pitch to each client. This approach not only talks about engaging younger generations, which is often discussed in the arts, but actively involves them in tangible, influential ways.
This initiative provides students with invaluable real-world experience, greatly enriching their learning and equipping them for future professional endeavors. Additionally, they leave the class with a substantive marketing portfolio, which they can include on their resumes. Simultaneously, the project offers essential support to local arts organizations that typically lack the resources to undertake such comprehensive marketing efforts. This dual benefit not only aids in the growth and sustainability of local arts but also strengthens the community’s connection to the arts.
Swedish artist, musician, and writer Maj-Britt Niklassonis set to grace the Archive Art Museum in Beijing with her captivating works, offering a glimpse into the depths of the human psyche through her intricate oil paintings on canvas. The exhibition, curated by David Khazaie and Nour Nouri of Pashmin Art in Hamburg, promises to be a celebration of art’s ability to transcend borders and unite cultures.
Niklasson’s multifaceted talent extends beyond the realm of visual art, as she is also a gifted singer and songwriter. While her paintings invite viewers to explore the complexities of their inner landscapes, her music serves as a complementary expression of her creative vision. With several songs already on Spotify and an upcoming album slated for release later this year, Niklasson continues to enchant audiences with her artistic versatility.
At the heart of Niklasson’s artistic practice lies a profound exploration of the human condition. Her paintings, characterized by rich symbolism and vivid colors, delve into existential questions that resonate universally. Through her work, she prompts viewers to contemplate life’s mysteries and the interconnectedness of all things, from light and darkness to birth and death.
Drawing from her extensive experience in both music and visual art, Niklasson brings a unique perspective to her craft. With over three decades of experience in painting and exhibiting, including a prestigious scholarship from The Royal Swedish Academy of Fine Arts, she has honed her distinctive style and earned recognition for her contributions to the art world.
Niklasson’s journey as an artist is as diverse as it is remarkable. Prior to dedicating herself fully to painting, she enjoyed a successful career as a professional musician, touring internationally and recording multiple albums with the Swedish folk and rock group “Landslaget” (Friendship Train). Despite transitioning to visual art, her passion for music remains undiminished, often intertwining with her exhibitions through live performances that enhance the immersive experience for viewers.
In addition to her musical pursuits, Niklasson is also an accomplished writer, with several published works to her name. Her literary contributions further underscore her creative range, offering yet another dimension through which she shares her insights into the human condition.
As Niklasson prepares to unveil her latest collection in Beijing, audiences can anticipate an enriching journey into the depths of the inner universe. Through her art, music, and written word, she invites us to contemplate life’s complexities and find meaning in the symphony of existence.
In a world often divided by borders and ideologies, Niklasson’s work serves as a poignant reminder of art’s power to foster understanding and connection across cultures. By bridging the gap between the personal and the universal, she invites viewers to embark on a shared exploration of what it means to be human.
