Dutch Art & Design Today

‘I like these kind of large topics that tell us a lot about the history of our discipline; about the history of taste; about the history of art history, basically. Part of what I want to highlight with my research, is that we have a certain perception of how a pictorial tradition—as Titian, Tintoretto, Rubens—ended up disfavored at a certain point in history, or apparently fell out of favor... Frans Hals never fell out of favor. '—Oana StanFor this episode of Dutch Art & Design Today, I sat down with Oana Stan, a Haarlem-based art historian, researcher, and cultural writer whose work focuses on early modern art, the changing nature of taste, women artists, museum history, and for instance, the reception of Frans Hals. Oana first studied philosophy at the University of Bucharest, where her interest in aesthetics led her toward art history. She then completed her BA in Art History at the National University of Arts in Bucharest, specializing in Renaissance art and writing on Venetian painting, before moving to the Netherlands to complete a master’s in Renaissance Studies at Utrecht University. Her research brings together classic looking, institutional history, collection practices, Dutch and Flemish art, and the public communication of art history across countries, languages, museums, and cities. Alongside her research, Oana also founded Women of Haarlem; a public-history walking-tour project that presents Haarlem through the lives of women who shaped the city,In this episode, Oana and I discuss how she first came to art through drawing, books, philosophy, and Renaissance painting, and how Dutch art gradually entered her field of vision through museum collections, study, and relocation to the Netherlands. We talk about her encounter with Rachel Ruysch at the National Museum of Art of Romania, the differences between Romanian and Dutch art-historical training, and her master’s research on women artists in museum collections, including display, acquisition policy, directorship, feminism, diversity, and institutional change. We then turn to her work at the RKD — Netherlands Institute for Art History, including the online Frans Hals study based on Claus Grimm’s decades of research, her work on provenance and database records, and her continuing interest in painted copies after Hals’s genre scenes. Together, these projects show how art history can move from the archives out into public life: through catalogues, collections, cities, and the steady recovery of overlooked visual histories.You can learn more about Oana and her work over at Women of Haarlem, as well as over on Instagram. You can find John on X @johnbezold and at his website johnbezold.com.'Dutch Art & Design Today' is published by Semicolon-Press.ISSN: 3050-6662

'Oftentimes when you see digital art, it feels unrooted. It feels like it’s hard to place, especially if you’re coming out of the tradition. And what I always say is—if you want to be a part of the tradition, you have to have a conversation with the tradition. And the most simplest way of having a conversation with the tradition is actually bringing up some of those works.'—Adrian PocobelliFor the 21st episode of Dutch Art & Design Today, I spoke with Adrian Pocobelli, a Berlin-based artist, editor, and curator whose work straddles the borders between digital art, art history, visual culture, and blockchain art experimentation. Born in Saskatoon, Saskatchewan, and shaped by years spent in Montreal, Toronto, and now Berlin, Adrian’s trajectory moves from stamp collecting, from comics and trading cards, to Tezos, and bitcoin, and the evolving pixelated poetics of web3. With a background in English literature and studio art, and an early encounter with Italian painting in the Vatican, Adrian’s work charts a long arc across visual language, medium, and memory. Most importantly for this show, one of Adrian’s works from 2022 repurposes Raphael’s portrait of Castiglone. The work was sketched by Rembrandt while it was up for auction in 1639, in Amsterdam. In this sweeping and layered conversation, we trace Adrian’s evolution from painting with inkjet printers and screen prints in Berlin to finding expressive liberation through his phone, his finger, and the emergence of blockchain-based platforms for digital art. We discuss his long-standing influence from figures as J.G. Ballard and William Burroughs; and his methodological use of randomness, repetition, and philosophical appropriation. Adrian recounts the development of his major series, including Screen Memories, The Peloponnesian War, Dante’s Inferno, and AI Girlfriend, each offering a different lens through which to view art history, contemporary systems, and visual culture.We also dive into the world of art on the blockchain: Tezos, Ethereum, and Bitcoin as ecosystems for distribution, experimentation, and visual curation. Adrian offers a deeply articulate and practical framework for understanding these platforms, and reflects on his creation of The Artist Journal, his long-running YouTube series that blends curation, commentary, and community into what he calls a “newspaper of the imagination.” From glitch aesthetics to the spiritual politics of pixel art, and from contemporary appropriation to classical citation, this conversation unpacks the logic and poetics of digital art’s second generation—one rooted in tradition but carried on-chain.You can find Adrian on X ⁠@pocobelli⁠ and at his website ⁠pocobelli.net.You can find John on X ⁠@johnbezold⁠ and at his website ⁠johnbezold.com⁠.'Dutch Art & Design Today' is published by ⁠Semicolon-Press⁠.ISSN: 3050-6662

'When I think about Rembrandt, I think of Rembrandt as dramatic. There's a drama. An emotional something's going on; the dark colors; a three-dimensional pull into it. And that three-dimensional pull, pulls me as a person into what is going on. And I have an emotional response to being in that scene—whatever it is. So there's something about Rembrandt that is guttural; you know? I don't just look at Rembrandt and say, oh, isn't that interesting. I dive into a Rembrandt.' —Jill Bolte TaylorFor the 19th episode of 'Dutch Art & Design Today', I sat down with Jill Bolte Taylor—an author, scientist, and speaker whose groundbreaking work has left an profound mark on how we understand the human brain, and ourselves. Jill is best known for her 2008 TED Talk, 'My Stroke of Insight', where she recounted her experience of surviving a life-threatening stroke in 1996 and her subsequent eight-year recovery. That talk, viewed by over 30 million people, catapulted her into the global spotlight and laid the foundation for her most recent book, Whole Brain Living: The Anatomy of Choice and the Four Characters That Drive Our Life (2021). Jill and I explore art through the lens of Whole Brain Living (WBL), discussing how her cellular anatomical framework can enrich the way we create, think about and interpret, and experience art—in all its forms. Jill's framework explores the brain’s four distinct 'characters'—left-brain thinking and feeling, and right-brain thinking and feeling. The 'we' inside of 'me'.Jill explains how these characters shape our emotions, thoughts, and interactions, providing a practical guide for cultivating balance and harmony within ourselves. What makes this conversation unique, however, is that our focus on how these insights apply to the world of art. From the analytical precision of 'Character 1' to the raw, present-moment engagement of Character 3, and the universal connection offered by Character 4, Jill reveals how art involves a holistic brain experience. We touch on iconic Dutch artists such as Rembrandt and Frans Hals, as well as the sensory and emotional power of museums, illustrating how WBL can deepen our connection to creativity, and ourselves, and art.WBL is most often used as a tool for personal growth, or having better relationship; and it’s a life philosophy that has transformed how I see and experience the world. By applying Jill’s framework to art, we turn it into a powerful lens for appreciating art as full-bodied, whole-brain experience. As the art historian Esther Pasztory once said, while we all think we understand art, but true essence often eludes us. With Jill’s insights, we move closer to unraveling its mysteries; intellectually, emotionally, and spiritually. This conversation also ventures into philosophy, drawing parallels between Jill’s work and thinkers like Edmund Husserl, Martin Heidegger, and Maurice Merleau-Ponty—the last of whom emphasized the embodied nature of human experience. WBL applied to art, bridges intellectual and emotional experiences of life, offering a way to connect with ourselves and the (art) world around us. And of course, we also discuss Van Gogh, Hals, and Rembrandt.Watch 2008's 'My Stroke of Insight'Watch Jill's talk on the teenage brainPurchase the book Whole Brain LivingWatch an interview with Jill about WBLYou can find John on X ⁠@johnbezold⁠ and at his website ⁠johnbezold.com⁠.'Dutch Art & Design Today' is published by ⁠Semicolon-Press⁠.ISSN: 3050-6662

‘We are a very vibrant country; Curaçao. But we are so much more than these cliches that pervade in mainstream thought about the Caribbean. There’s real struggles here. Real injustice and economic disparity. And it has to do with our past. But a lot of progress has been made… My art seeks to show the average Curaçaoan; the fisherman at Playa Piskadó; Carnival; Tumba performers, who have their roots in African dance. The colonial past really does still impact us, daily. And so my work in AI tries to highlight those here who are—regular.' —Erica ObersiFor the seventeenth episode of 'Dutch Art & Design Today', I sat down with Erica Obersi—a Curaçao-based artist renowned for her AI creations. Our paths first intersected in the vibrant web3 sphere, particularly within the close-knit Tezos blockchain community, a platform where Erica frequently showcases her art. Raised in Curaçao, Erica has always been keenly aware of the world beyond her country's borders. Her work in the tech realm led her to spend several years in New York City, working in the city's tech industry. This period also saw her studying for and obtaining a BA in International Relations from George Washington University, in Washington D.C.. Later, Erica returned to Curacao, and more recently enrolled to study at Tilburg University for her law degree. Erica's work with AI represents a fusion of her diverse interests, ranging from the spiritual—like the power of holy scriptures—to futuristic fashion and tributes to Swedish artist Hilma Af Klint (1862-1944). Her prominence in digital art and NFTs, particularly in the Dutch Caribbean, marks her as a pioneer in the field and one of the few digital artists in the region to gain international acclaim. In early 2023, Erica's talent was further recognized when she joined SuperRare, a leading digital art marketplace and auction house.In this hour-long conversation, Erica recounts her memories of visiting Amsterdam during her childhood and visiting the Rijksmuseum with her grandmother and grandfather, and how she was taken aback by coming face-to-face with Rembrandt’s Nightwatch. She then goes on the describe the culture and the international outlook of its people, to the world at large, while also discussing what the county's museum and cutural scenes entail, before spending time discussing the legacies Dutch colonialism brought to the island, both in the past and today. While her early work explored themes related to the people, culture, landscapes, and history of Curaçao; her more recent work incorporates themes of divinity-inspired digital fashion, ideals concerning social hierarchy, excess wealth, and how the latter can lead to envy and intrigue. To conclude, Erica talks about the importance of integrity in her work and beyond her art, such as why she finds it important, as an artist, to use her platform for good. You can learn more about Erica and her work over on X @madeincuracao and on Instagram @ericaoverseas.You can find John on X @johnbezold and at his website johnbezold.com.'Dutch Art & Design Today' is published by Semicolon-Press.ISSN: 3050-6662

'Back in 2006, or 2007, I painted a kind of a landscape, in a very liquid way; sometimes abstract and sometimes realistic. But I would always add details, like a cow in the foreground watching its shed or hut, standing in a puddle of water. And the cow, in that work, is standing on the hill. But can't go back to the hut... And what I like about that painting, is that there are different levels to it. A daily life scene; a cow watching the effects of global warming. But on another level, maybe I'm the cow, doubting the painted landscape I made. So, there's an irony in my work... It's a mix of abstraction and figuration, and philosophy.' –Sven Kroner For the fifteenth episode of 'Dutch Art & Design Today', I sat down with Sven Kroner, a Düsseldorf-based painter whose works on large-scale canvases making use of acrylics, are simultaneously familiar yet otherworldly, while also being utterly entrancing. Sven was born in Kaufbeuren, then in West Germany, in 1973, surrounded by the verdant landscapes of the Northern Alps, aligning the Austrian and Swiss borders. He describes the nature in this part of Germany as being, 'like a fairytale', and where he spent time with his friends during his youth—as they all dreamed of moving away from their small town, to bigger cities. Not necessarily from an artistic lineage of painters, he came to art of his own volition, after museum visits as a child, taking an interest in contemporary German artists, as well as some of his own experiments using aquarelles and oil paint. Sven then studied painting, at the Kunstakademie Düsseldorf, from 1994-2000; a city he had never visited before his acceptance there; though it is also where he has lived, and worked, ever since. In this hour-long conversation, Sven and I discuss his childhood spent in southern Germany, and how the landscapes that surrounded him there in the area, influenced how these landscapes returned as a subject, within his work. Sven talks about his time at the Kunstakademie in Düsseldorf; why he chose to study there; and what he did while there; before zooming in on his mentor at the academy, Dieter Krieg (1937-2005), explaining what he absorbed from him, that he still makes use of, today. Sven is known for paintings that, put simply, create worlds within worlds. He makes use of acrylic paints—a medium he once referred to as nearly being, 'plastic'. It is rare to find an artist of his statue using acrylics instead of oils, and so we also discuss his technique; how he uses the medium to create his work; and how the medium differs from oils. Lastly, we discuss his exhibition titled 'Atmosphere', at Gallery Fons Welters in Amsterdam, from 8 September-14 October 2023, and how his more recent work involves the themes of domesticity, and the Anthropocene. You can learn more about Sven and his paintings, and books, over on his website. You can read about Sven's exhibition 'Atmosphere', on Gallery Fons Welter's website. You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press. ISSN: 3050-6662

'What's left to do? To keep people interested in old art. To make that art interesting and relevant. Perhaps relevant isn’t the right word… But if you look at the art market; the biggest money, right now, is in modern and contemporary art. You see it in auction houses, too. The content of the sales is different than it was 20 years ago. Old Masters remain a challenge. But then, you'll get a Vermeer exhibition, like at the Rijksmuseum—where the tickets sell out on the second day. And so I’m optimistic about the future, when it comes to the Old Masters.' —Jane Turner For the thirteenth episode of ‘Dutch Art & Design Today’, I sat down with Jane Turner; an editor, scholar, specialist in Dutch and Flemish Old Master drawings and prints, the former Head of the Print Room at the Rijksmuseum in Amsterdam, and has been the Editor in Chief of journal Master Drawings—covering Old Master drawings—since 2004. Jane studied art history at Smith College in Northampton, Massachusetts, and quickly found her way to working at the college's art museum. She studied in Paris for a year while at Smith, refining her eye and interests in Old Master art; and after graduation, decided to move to Manhattan, where she worked at the Cooper Hewitt Museum and the Morgan Library, where she began specializing in Netherlandish drawings of the sixteenth and seventeenth centuries. During her museum days in New York, she became known for compiling catalouges of collections, imbuing her with editorial expertise, particularly concerning hefty tomes. In the late-1980s Jane moved to London, where she worked for over a decade on the 36-volume Dictionary of Art; a powerhouse of a print publication, the likes of which will never be produced again, and which itself, was progressive in its approach to global art. In 2011 Jane was appointed Head of the Print Room at the Rijksmuseum, retiring from it in 2020. Through her work, Jane's become a globally renowned museum scholar and connoisseur of Netherlandish drawings. In this meanderingly playful talk, Jane and I discuss the course of her career and trace its origins from her hometown of Cincinnati, Ohio—where I was, coincidentally, also born; to her youth spent in Cleveland, and what life was like in terms of her early-exposure to museums and modern art; and then move on to discuss some of the ideas and subjects she was interested in as a student. Jane spends a large portion of our conversation underlying the importance of mentorship within her work and discusses some of the programs and initiatives she has put in place, which advocate for the advancement of young scholars of drawings and prints. While at the Rijksmuseum, Jane was responsible for leading numerous digital catalogue projects that made the print room's drawings digitally accessible, with full descriptions, technical research and provenance information. She also was responsible for innovative exhibitions put on by the print room, including one titled 'XXL', which featured eccentric, huge works on paper, and another titled 'Frans Post. Animals in Brazil', which saw plush insects 'overtake' the museum. Lastly, Jane ponders what the future holds for Old Master drawings and museums—and indeed, is hopeful for both. You can learn more about the Rijksmuseum's Print Room over on their website. You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press. ISSN: 3050-6662

'In digital fashion, craftsmanship has moved from knowing how to work with leather, or how to embroider physically. But I think the craftsmanship that’s done in digital fashion is the same if not more than the time spent crafting physical fashion. So, the craftsmanship of the traditional fashion industry is still present in the digital fashion industry; it’s just that digital fashion designers are using different tools, in their work. And it’s funny how in the real world we try to delete imperfections and become more perfect. But digital fashion is about making things less perfect; more imperfect.' —Giancarlo Pazzanese For the eleventh episode of ‘Dutch Art & Design Today’, I sat down with Giancarlo Pazzanese—a Chilean-Italian educator, designer, and digital fashion expert. Giancarlo's work is rooted in a deep respect for history, and he is an advocate for inclusivity and diversity in 3D, digital, metaverse, and web3 design. He previously taught fashion history and digital fashion, at the Amsterdam Fashion Academy—where he was in charge of establishing the pedagogical curriculum and programming around these topics. More recently, he began teaching at the Utrecht University of Applied Sciences. Most prominently, his work explores design and fashion, in relation to augmented reality and 3D design, on both the production and supply chain sides; as well as garment design. In this fascinating talk that begins with Giancarlo’s childhood; we discuss how growing up in Chile during the 1970s had an effect on his views on the material world of ‘things’—from art to buildings. We then discuss how he experiences history, especially the built environment of Amsterdam and Europe. Our conversation continues to AI; what it can, and what it cannot, do; how the knowledge a user brings to it, has an outsized influence on its output; and how he uses it in his work in fashion. To conclude, Giancarlo talks about his time at the Fashion Academy, and breaks down the nuances of his work there; some of the programs and modes of thought that he embedded in the institution; and what it is that makes teaching fashion history and digital fashion, so exciting to students, today. You can find Giancarlo on Instagram, over on X, and at his website. You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press. ISSN: 3050-6662

'In the early-seventeenth century, group portraiture was about social relationships that were the topic of such paintings. And in the late-nineteenth century, visual language in painting was a little more open; a little more abstract. So for me, the canvas is like a stage of happenings that play out on a global level. And that's the reason that my large-scale canvases tend to look like theatrical compositions. They are, basically, meant to portray different digital spaces. I want to paint the metaverse... Some people have more power, some people have less... It's these different levels of social power, which I express in my large-scale work.' —Felix Pensel For the ninth episode of ‘Dutch Art & Design Today’, I sat down with Felix Pensel—a Nuremberg-based artist whose work spans many mediums, most notably large-scale canvas paintings, and more recently, digital art. Felix has devoted his life to art; he eats, sleeps, and breathes art; and he is nearly entirely self-taught. He was first inspired to become an artist at his grandfather's urging, which led him to start drawing, then visiting art museums more and more during his youth—ultimately finding his way to the monumental canvases of artists such as Rembrandt van Rijn and Peter Paul Rubens. The compositions of such Old Master paintings have inspired his own work, especially his digital paintings, which are complexly layered three-dimensional planes inhabited by countless figures, sometimes in unsettling or even surreal poses and situations. In this way, his work recalls the haunting worlds of the Netherlandish painter Hieronymus Bosch. Felix’s digital artwork is minted on Tezos and Ethereum, whereas his physical works have been widely exhibited throughout Europe. In this incredibly relaxed interview, we meander from Felix’s childhood in Nuremberg, and museum trips to visit the Old Masters, specifically work of Rubens. We then discuss his relationship to drawing as a child, being inspired by the prints and drawings of Albrecht Dürer—a fellow Nuremberg native; his later dabbles in graffiti; and how his experiences in graffiti lead him to turn his attention to creating large-scale paintings. We then discuss how he is influenced by the built environment around him, in Germany, and oppositely, what it is that makes the contemporary art world so fascinating, when it collides with web3. The second half of our talk is centered on how Felix makes use of and his views on working with AI; and the enthusiasm of artists and collectors in web3. Lastly, Felix talks about his newest works minted on ⁠⁠SuperRare⁠⁠, the ideas behind them, and how they relate to compositions of late-nineteenth-century French group portraiture painting. Works by Felix discussed: '⁠⁠Cosmos of Cream⁠⁠', '⁠⁠Blue Haze', and 'Diamonds and Pizza'. You can find Felix on X ⁠⁠@paintre_ and at his website ⁠⁠linktr.ee/paintre. You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press. ISSN: 3050-6662

‘For the nineteenth century, Dutch artists had to try to emulate artists from the seventeenth century. It was the standard that they had to try and find. And if they exhibited in Paris, that’s also what the critic said: "this is like a Ruisdael; that’s like a Rembrandt; he’s doing a very good imitation of that artist." And that’s something they had to fight against, or overcome. And that only happened, with the advent of The Hague school, and its artists. There's also a French-Dutch part of the French School of Barbizon, whose own artists actually looked back to the Dutch seventeenth century. But it's that moment, in which the Dutch nineteenth-century artists come into their own. And they in-turn, become an export product, and become internationally known. Especially in America and Great Britain, these artists were very much sought after.’ —Mayken Jonkman For the seventh episode of ‘Dutch Art & Design Today’, I sat down with Mayken Jonkman, who is a Senior Curator of Nineteenth-Century Art, at The Netherlands Institute for Art History, in The Hague. Mayken is an art historian and researcher who takes an approach to her work that is kaleidoscopic in its nature. Since 2007, she has been a curator at the RKD, focused entirely on the nineteenth century, and specifically, interactions and artistic exchanges between France and the Netherlands. She has also been a lecturer in art history at numerous universities in the Netherlands; sits on the board of the European Society for Nineteenth-Century Art; and has authored a seemingly endless list of publications on artists, the use of photography by artists, and much more besides. In this episode, we trace these events in her life, all through the prism of the fabulously multi-faceted nineteenth century; with its many interlocking innovations, as related to society at large, from its cities, to its new modes of travel and transportation, to photography; and how all this affected its art. We then discuss her PhD, which she is completing at Utrecht University in the Netherlands, and is entitled ‘Retour de Paris. Artistic Exchanges Between the Netherlands and France 1789-1914’, as well as the exhibition she guest-curated titled 'The Dutch in Paris 1789-1914', held at the Van Gogh Museum in Amsterdam and in Paris at the Petit Paleis. Lastly, Mayken explains what it is about the art of the nineteenth century that most fascinates her; and what it is that this period in history can teach us, today. Here you can listen to the podcast we reference in the episode, 'Dutch Artists in Paris', in which Mayken discusses her research. You can find out more about the RKD over on their website. You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press. ISSN: 3050-6662

‘…And this gave me; I think it gave me; not just the knowledge of that medium and the specific period of time. But also the conviction, that if you put your mind to it, and take a little time—that in a year or two you’ll be a specialist too. Don’t ever let anyone tell you you cannot be a specialist; even if you haven’t studied something in previous years. You can always be a specialist.’ —Christi Klinkert For the fifth episode of ‘Dutch Art & Design Today’, I sat down with Christi Klinkert, who is, since 2009, the Curator of Old Masters at the Stedelijk Museum Alkmaar, in the Netherlands. Under her tenure, the museum has increasingly staged innovative exhibitions, which often focus on topics or themes related to Alkmaar or North Holland in general. In this lengthy, nearly two-hour-long episode, we discuss her early love of the arts, and how she came to relay that passion into a dissertation on newsprints and propaganda in the sixteenth and seventeenth centuries. We then discuss the biography and work of Allaert van Everdingen, and the exhibition she curated entitled: 'Allaert Van Everdingen: Master of the Rugged Landscape', which ran from 18 September 2021-8 May 2022. In the second half of the episode, Christi and I step inside the exhibition space itself, and she explains its main ideas and key artworks; ranging from topics such as the show’s physical design to its installation; its inclusion of works by Dutch photographer Pascal Vossen; to the clustering of Allaert's works by themes and size. After leaving the exhibition space, we reflect on the catalogue that was produced by Christi and her team at the museum. Lastly, Christi lays out what's to come in the years ahead at the Stedelijk Museum Alkmaar, such as an exhibit on artist Maarten van Heemskerk, and another on slavery at a plantation named Alkmaar, named after the city; which recently opened at the museum, entitled: 'Plantage Alkmaar: Alkmaar in Suriname 1745-to Today', and is on display, until spring 2023. You can find out more about the Stedelijk Museum Alkmaar over on their website. You can find John on Twitter You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press. ISSN: 3050-6662

'Lots of artists from the Southern Netherlands migrated to Haarlem, and Haarlem really became a breeding ground for new artistic genres. So I would describe the Haarlem school as being very innovative in a way. And that happened early on; even earlier than the early sixteenth century... There was something in the Haarlem climate that made artists come here... there are beautiful surroundings of course, with the dunes. And there was also a very stimulating city council, which is why a lot of artists came to Haarlem–and that made it possible for these artists to come to the top of their game, here in the city.' —Marrigje Rikken For the third episode of 'Dutch Art & Design Today', I sat down with Marrigje Rikken—Head of Collections & Presentations at the Frans Hals Museum. In her role, Marrigje is responsible for the care and display of the museum's many artworks; a task that entails knowledge of every aspect of a museum's inter-working parts; from loans and lectures to exhibitions and educational initiatives. All the while ensuring the needs of the museum’s audiences are addressed—from the casual exhibition visitor to dedicated scholar. We discuss her early-childhood interest in art, museums, and her own art historical trajectory, and then zoom-in on the museum. Marrigje recently curated the exhibition 'Frans Hals and the Moderns', which was supported by an extensive series of educational and scholarly programs, and is just one of the many exhibitions and publications she has been involved with throughout her career. As the museum continues to evolve, and more recently changed directors—seeing the departure of Ann De Meester, and the entry of Lidewij de Koekkoek—we also look back at the museum's rebranding by KesselsKramer, and how that's reactivated the museum in the minds of the public, among many other topics. You can learn more about the Frans Hals Museum over on their website. You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press. ISSN: 3050-6662

'Vogue has become a really strong brand because of its consistency. Because of its consistency... editorially, but also in regards to its graphics. Frame is a much smaller publication—but it has become a strong brand because of its inconsistency; because of its... always trying to be different; always trying to find new ways to express thoughts. You can go many ways when you make a magazine, and this happens to be the way we have chosen.' —Robert Thiemann For the first episode of 'Dutch Art & Design Today', I sat down with Robert Thiemann—the editor-in-chief and founder of Frame magazine. The publication has been produced in Amsterdam since 1997, by Frame Publishers, and celebrates its 25th anniversary in 2022—which is an occasion to look back, and forward. Frame has, since 1997, become the world's leading authority on interior design, at the truly global level. In this wide-ranging yet focused talk, we discuss the history of Frame's start-up; how publishing has changed in the past 25 years; the importance of innovative graphic design to the magazine; how the internet forced the industry to shift and adapt to digital publishing, in 2008; the importance of physical events to the design community; and the future of design publishing. You can learn more about Frame Publishers, over on its website. You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press. ISSN: 3050-6662