Speculate in Art? Not Us!
Billed as “The First World Art Market Conference,” the show was, as John Everett, president of the New School, said in his opening remarks, about the “business of art.” It
The Curator’s Lot
Back at A.I.R. again, there was at last an exception to panel chaos, perhaps because only two panelists—Marcia Tucker and Barbara Haskell, both of them Whitney curators—showed
Curatorial Assistance
“I’ve been thinking a lot about biennials,” mused the artist Michelle Grabner, seemingly without irony. No kidding—she’s one of three curators of the 2014 Whitney Biennia
The Market Is the Moment
The question “How the Market Gives Form to Art” is one I ask not at all cynically. I think it’s the question of the ’80s and a difficult one to answer. My premise is that t
“Crisis” in Criticism: Report #2
Anticipating yet another version of the standard critic’s disclaimer, “We have no power and no one reads us, anyway,” I found the New School’s auditorium overflowing with a
“Crisis” in Criticism: Report #1
The New School auditorium is an antiseptic affair after the historic Great Hall at Cooper Union and the raunchy amphitheater at the School of Visual Arts, but its acoustics are muc
Certificates of Authenticity
The second and final panel on the symposium for the Jewish Museum’s exhibition Jack Goldstein x 10,000 featured presentations by two artists—Kathryn Andrews and Paul P
Welcome to Post-Modernism
I went to this really weird panel last night called “Post-Modernism in Art and Literature,” only it was mostly John Simon, Michael Graves, and Hilton Kramer in the same room, s
The Emaciated Spectator
What is an audience? Anyone and anything, really: concert ticket holders, participants in a political rally, a random gathering of passersby. A filmmaker or playwright certainly wa