Under my capacity as managing editor for the College Art Association, I live-tweeted a session at the 2016 CAA Annual Conference in Washington, DC. It was the first time I had attempted to write about an event as it was taking place. Sponsored by CAA’s Committee on Intellectual Property, the session addressed how the organization’s Code of Best Practices in Fair Use for the Visual Arts, published in February 2015, has been used by artists, publishers, and museum administrators.
John Canaday, for those of you too young to remember, used to be senior art critic on the New York Times, and hence, some felt, the most powerful art critic in the country. I remember a Sunday column of his about a woman in the art department of Appalachian State University who had put together an exhibition so fine that he praised it unstintingly. This was particularly impressive to a New Yorker because at the time the very name of the university conjured up an isolated pocket of insularity where it was hardly expected art would be taught, let alone exhibited—and abstract art at that. Canaday’s Appalachian connection appeared again at College Art, as we saw him on the panel, “Recurring Regionalism: The Southern Rim.” The title came from an earlier conference of the same name.
Because the Caucus for Marxism and Art had been granted a very brief time slot, only three artists were scheduled to speak, each to discuss her/his work in the context of social change. Martha Rosler noted in her introduction that each of them dealt with violence—physical or social. Later she addressed the need of political artists to gain control of language, to move away from the media definition of “violence.”
Since the original title of this panel was “Museums and the Reality Principle,” the artist-listener might have expected an adrenal in-rousing discourse on exhibition politics, how artists are chosen or ignored, the manipulations of trustees, the perfidy of curators and their lovers, etc. Instead, the Reality Principle at issue quite reasonably concerned the costs of running a museum, the problems of attracting a broad public, and how, having done so, not to go broke being popular. Hilton Kramer described the task of a museum over the past thirty years as changed, from an agency showing classics of modern art to an institution whose function is also to introduce new and emerging artists and movements.
“Folk Art and Neo-Folk Art” was both exhilarating and illuminating. Panelists touched on important points of original research, while much new territory was explored. However, a cloud of doubt may still linger as to where and when folk art and naïveté give way to professionalism. Betty MacDowell and Rachel Maines asserted that training is the key, but their fellow panelists freely interspersed untrained artists’ work without distinctions. One was left to make one’s own deductions.
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.
Future generations researching the good old days at the College Art Association’s Annual Conference may take this panel for a distillation of its moment, as it casually splices ideals, philosophy, jargon, celebrity, and non sequitur with talk of art-as-money. We see also the intense longings, the search for uplift, the demands for salvation that are increasingly deposited in art. The most interesting discussion of the panel addressed whether they belong there.
Drop “identity politics” into any art-world conversation now and you’re likely to get an eye roll—“so unfashionable.” This wasn’t the case twenty years ago, a time when the art museum—whether showing controversial photographs by Robert Mapplethorpe or hosting the contentious 1993 Whitney Biennial—was a primary battleground.
In response to the uncertain future of the Bibliography of the History of Art (BHA), and concerned with helping anticipate and facilitate new developments in art scholarship, the Getty Research Institute organized two meetings at the Metropolitan Museum of Art and the ARTstor office in New York on April 20–21, 2010.
The choruses to Billy Joel’s number-one single “We Didn’t Start the Fire,” released a couple months before the Berlin Wall fell in November 1989, and Jesus Jones’ spring 1990 hit “Right Here, Right Now,” which reached #2 on the Billboard charts, repeated in my mind at “Periodizing Contemporary Art,” a lecture held at the Museum of Contemporary Art, Los Angeles, on the eve of the College Art Association’s 2009 annual conference.