What does post-woke art look like?

Recorded at the Battle of Ideas festival 2025 on Sunday 19 October at Church House, Westminster. ORIGINAL INTRODUCTION In December last year, critic Dean Kissick, in an article for Harper’s Magazine, caused controversy in the contemporary art world. He complained that the ‘fascination with identity’ was lending to a ‘nostalgic turn to history’. The ‘socially conscious turn’ of the early 2010s, he said, meant prestigious galleries were overwhelmed with works that were ‘progressive in content but conservative in form’, noting that ‘everyone in the world of contemporary art wants to revive a tradition, however recent’. What is lacking, he wrote, is much that is ‘inventive or interesting’. Perhaps this wave of progressivism is over. Commentators have heralded Trump’s second term as a ‘vibe shift’ and a rejection of identity politics. Following the cues of New York’s postliberal ‘Dimes Square’ subculture, youth-oriented ‘post-woke’ cultural scenes have popped up in major cities. But the same issues arise in these enclaves: few of the emerging works appear visually or ideologically new. For example, New York’s Fiume Gallery greeted Trump’s ‘spiritual insurrection’ by adopting the accelerationist ideals of the Italian Futurists and the neoclassical look of online ‘vaporwave’. Fashion designer Elena Velez shocked magazine editors by taking aesthetic cues from Gone with the Wind. And in June, ‘dark enlightenment’ figure Curtis Yarvin put in a bid to represent the United States at the 2026 Venice Biennale with a pavilion themed around Titian’s Rape of Europa. ‘Art wants to break taboos’, Yarvin told Vanity Fair. But artists have been trying to break taboos since the age of Duchamp’s urinal. Will these latest provocations continue to resound when even the president himself relies on social-media shock tactics? How will a post-woke age affect the output of the contemporary art world? What role should artists take in the ‘vibe shift’? Will new styles emerge to greet this new political landscape – or did the roots of our old artistic stagnancy lie in something deeper than identity politics? And after years of a political controversy-offence cycle, is there still potential for grassroots provocation? SPEAKERS Dr JJ Charlesworth art critic; editor, ArtReview Pierre d’Alancaisez co-founder, Verdurin; art critic, The Critic Maria Lisogorskaya artist; co-founding member, Assemble Dr Ella Nixon art historian and writer; post-doctoral researcher, University of Cambridge Professor Ian Pace pianist and professor of music at City, University of London CHAIR Vicky Richardson architectural writer and curator; former head of architecture and Drue Heinz Curator, Royal Academy of Arts