A viral encounter with a bronze sculpture put our host, Madison Beale, in touch with the incomparable interdisciplinary artist Patricia Cronin this year. Today on the Artalogue, Beale sits down down with Cronin to discuss her career trajectory from humble beginnings to a global art world presence as multidisciplinary feminist artist behind Memorial to a Marriage and Shrine for Girls to unpack how a work of art can carry both intimacy and insurgency.

Patricia traces her path from a Catholic childhood through the 1990s culture wars, with erotic Polaroids interrogating power, authorship and voyeurism. That same insistence on lived perspective inspired later works, like the three-ton neoclassical embrace installed on her own burial plot to answer legal and physical absence in public space, and three quiet altars in Venice layered with fabrics that invite viewers to better understand how the patriarchy harms us all.

Beale and Cronin also face the present head-on: executive orders scaring museum programs into deplatforming artists, show cancellations rippling through the arts in the United States, and the subtler danger of self-censorship in the studio. Cronin shares a clear path for resisting authoritarianism, matching skills to message and building communities that outlast regimes.

Patricia Cronin is an interdisciplinary feminist artist that examines issues of gender, sexuality, and social justice. Major bodies of work focus on the international human rights of LGBTQ+ persons, women, and girls, including “Memorial To A Marriage”, the world’s first Marriage Equality monument. Cronin’s work has been exhibited internationally, with solo exhibitions at institutions including the Tampa Museum of Art, The FLAG Art Foundation, the 56th Venice Biennale, the Brooklyn Museum, and the American Academy in Rome. She has also participated in significant group exhibitions around the world and received various prestigious awards and fellowships. Cronin’s works is collected by numerous museums, including Kelvingrove Art Gallery and Museum, Leslie-Lohman Museum of Gay and Lesbian Art, National Gallery of Art, Perez Art Museum Miami, Smithsonian National Portrait Gallery, Tampa Museum of Art, and Woodlawn Cemetery. She lives and works in Brooklyn, New York.

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Barbara Cole turned a newsroom fashion job into a decades-long photography practice. In this new episode of the Artalogue, Madison chats with the award winning photographer Barbara Cole about her unorthodox journey to the dark room.

Cole's first memories of art were at the theatre, which makes sense when you look at her gorgeous and theatrical photographs. She was initially inspired by the British artist Sarah Moon and the painterly way she conceived her photographs. From there she learned by doing: running lights off generators, hand-painting prints, collaging archival imagery, and eventually mastering a practice that treats film and digital as complementary tools.

Cole shares more about Impermanence, her new show with Bau-Xi gallery. black-and-white underwater series shot through the surface with a Rolleiflex while a summer storm tried to drown the set. The result is a study in blur, breath, and transition with figures suspended in dreamy, watery underworlds. Cole worked with a young designer to create outfits specifically for this shoot. As well as creative peaks, we talk about some creative troughs: fear between projects, the discipline of shooting without expectation and mental health struggles.

If you’re chasing a singular voice, this conversation delivers practical insight: how to find honest gesture, why gear isn’t always the answer, and how finding your own style through experimentation can create a timeless look.

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We all knew the art market slowed slow down, but we didn't realize the rules were being rewritten, too. Advisor, curator, and reporter Elisa Carollo joins Madison Beale on The Artalogue today to discuss the most important questions arising in the art market today.:Will there be more gallery shut downs? How are galleries adapting in a post-boom, post-digital art market? What can the next generation dealers do to keep their heads above water? Today, we connect the dots between prices, context, and staying power.

We start with Elisa’s journey navigating secondary and primary markets, curation, and daily reporting, and how that unique vantage point helps Carollo understand what moves value in contemporary and ultra‑contemporary art. She breaks down the pandemic’s fast‑track effect on emerging artists, why rapid price spikes can backfire, and how institutional recognition, biennials, and critical writing broaden demand beyond a handful of bidders.

The conversation then turns to the gallery crunch: mounting fair schedules, rising rents, thin teams, and the danger of overgrowth. Carollo explores how dealers these days believe that community is driving more sustainable sales. We also spotlight hopeful momentum, from the Studio Museum in Harlem’s reopening to Venice’s next chapter, and revisit the Malta Biennial as a model for site‑specific, context‑rich curation that builds meaning as well as markets in places less frequented by the art world's usual travel circuit.

Carollo offers grounded advice for aspiring art writers: be present in the industry, wear different hats, and ask better questions. If you care about how artworks earn their place (and keep it) this conversation is your field guide to an art world under renovation.

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