Pushkin.

This is talk easy. I'm Sam For Grosso. Welcome to the show. Hey yo, yo, Hello everyone. Thank you for being here. Today on the

podcast I am pleased to have on writer and art critic Antoine Sergeant. He has written for the New York Times, the

New Yorker, Vice, W magazine, the Nation, interview magazine, the fader, the list goes on. Where there are words about art, there's the Guard, photography between art and fashion.

It was a piece about the ways in which representation plays on our

psyche and shapes our realities.

Now he has a new book that he's recently edited called Young Gifted and Black, a new generation of artists.

It's about black collectors, artists, and curators doing the work to ensure that black art is made, seen, valued, and preserved.

It also, as you probably gathered from the title, is introducing this young emerging wave of creators.

Now the reason I wanted to have Antoine on in this moment is because I don't know about

you I really miss going to museums. I have found

it really hard to channel any amount of energy into art during this election season.

So for the next 45 minutes, Antoine and I are going to fix that.

First, he's going to set the stage for what's been happening in the art world during the pandemic and what we can

expect the future of museums to look like. We also dive into the existing power structures that make it really difficult for young men and women of color to break into the system,

to get work at a place like Vogue, to get written about in the New York Times.

As a writer, critic, and historian of the art world,

Antoine has this unique ability to describe the details of the big picture.

He offers a window into how these institutions operate and how these artists create.

Then finally, before we leave in the final 15 minutes of this

podcast, we've assembled a kind of virtual exhibit for you. Together, Antoine guides us through six pieces from his book,

Young Gifted and Black. While you're listening you can look at those pieces on

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