Male Critics Grilled and Toasted

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The fact that this panel of four male critics and editors drew the largest audience I have seen at any comparable woman’s event tells all about power and the perception of power in the art world today. Intellectual exchange was secondary, the audience being less interested in what the panel had to say than in what it had to say to the panel.

Interview in Art Practical

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In the newest issue of the online journal Art Practical, the artist, critic, and publisher Dushko Petrovich conducts an email interview with Christopher Howard about his experiences publishing In Terms Of. The interview joins other essays and interviews that address the theme of “Free Speech in the Art World.”

Pawns in the Game

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The journalist and sociologist Sarah Thornton was interviewed about her latest book, 33 Artists in 3 Acts, at the New York Academy of Art, where she was also the school’s commencement speaker for this year’s graduating class of MFA students. The book chronicles the upper crust of the contemporary art world—the kind you read about in the Scene and Herd section of Artforum.com—from 2009 to 2013. Benchmarks in conversations and studio visits with the dozens of artists that Thornton interviewed were Jeff Koons, whom she considers to be conservative, and the high-risk Damien Hirst. Other recurring characters include Maurizio Cattelan, Ai Weiwei, and Andrea Fraser, as well as the artist couple Carroll Dunham and Laurie Simmons and their daughters, Grace and Lena Dunham.

Not Just Another Ism

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Joan Semmel began by citing Lucy Lippard: the more explicit the imagery, the less evocative the erotic work. Response from panelists was poor until John Kacere broke the ice with a meandering monologue on the mediocrity of porn: “If you’re very hungry, it doesn’t take much to turn you on.” Panelists were asked if their own work turned them on; Kacere again. “You can’t be horny for a month.” Panelists agreed that, in effect, their work was not really porn or even erotic—it just referred to a “beautiful human experience.”

Personal Branding with Hank Willis Thomas

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“Would you say your biggest source of inspiration is other people?” an audience member asked Hank Willis Thomas, who had just finished giving a presentation on his work in the basement auditorium of the Krannert Art Museum. The artist replied with a smile: “I’d say.” Indeed, early on Thomas stated that art is about people and connections, and he even began his talk by quizzing the audience, asking who was a student, a faculty member, a first-time visitor. He also asked who in the room had tattoos—there were several students with visibly more than a few—and playfully harassed a few latecomers. Thomas also joshed a reticent audience member halfway through the lecture: “This talk can’t go if you don’t talk.”

A Better Everyday Life for the Many People

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“IKEA is huge,” stated Sara Kristofferson, professor of design history and theory at Konstfack in Stockholm, Sweden. Who could argue with her? Founded in 1943, the immensely popular seller of affordable furniture, utensils, and fabrics for the home has spread across the globe and brings in billions of dollars a year. A more intriguing proposition was this: “IKEA has made Swedishness a virtue in itself.” But scratch deep enough, Kristoffersson warned, and hierarchies begin to appear within a company that many people believe mitigates consumerism and capitalism with an egalitarian touch.

Landscape Surveyors

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A panel on “The Changing Landscape of Museums Today” coincided with the release of the Asia Society Museum’s anthology of essays, Making a Museum in the 21st Century. Responding to a question asked by Josette Sheeran, president and chief executive officer of the Asia Society—“What does a successful museum look like in the twenty-first century?”—the museum directors Richard Armstrong and Melissa Chiu talked about collections, buildings, and exhibitions, while the bureaucrat Tom Finkelpearl zeroed in on diversity and audience.

End of Bohemianism

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The most talked-about art writing of 1987 College Art Association week was Janet Malcolm’s New Yorker profile of Ingrid Sischy, editor of Artforum. Hilton Kramer, introducing “Has Success Spoiled the American Art World?,” explained how Malcolm found Sischy not “profilable” and so profiled instead a “Cook’s tour of the seamy aspects of the world [Sischy] is obliged to move in.” We, apparently more accustomed than Kramer to the ways and means of artists, thought the scene sounded like just folks and began to wonder anew about Kramer’s sense of the fitness of things. From there he segued into a depiction of the runaway art world of the last five to ten years—the proliferation of art critics, the inflation of indifferent art, and the turning of art into a commodity for the moneyed middle class.

Dubious Relations

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The symposium on “The Relationships between Artists and Museums”—featuring David Bourdon, Richard Hennessy, Diane Kelder, Barbara Rose, and Marcia Tucker—was a formal display of sparring and volleying between five panelists, some of whom raised genuine questions. A few presented themselves as ideologues. Only the final speaker attempted answers.

Back to the Future

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In April 1968, the Metropolitan Museum of Art in New York brought together museum professionals, academics, and computer technologists from IBM for a “Conference on Computers and Their Potential Applications in Museums.” A postconference report,” said Ross Parry, senior lecturer and college academic director in the School of Museum Studies at the University of Leicester, indicated that participants and attendees imagined their technological future in the year 1980. They envisioned a computerized image-search database that would allow a person to pull up any artwork that depicted, for example, “sailing vessels,” or to get information on objects in storage or from other museums. “This was reverie,” said Parry, of these predictions for a digital institution.

 

 
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