Theater of Exhibitions, a slender new book by Jens Hoffmann published by Sternberg Press, offers fifteen brief chapters on curatorial work. While Hoffmann, a 41-year-old curator, writer, and deputy director of exhibitions and programs at the Jewish Museum in New York, rarely mentions specific works of art, he discusses his own exhibitions and criticizes—in a casual way—the alliance between museums and the wealthy, the blandness of international biennials, the overproduction of artists, and the extension of curatorial work into publications, conferences, screenings, and workshops. Unlike Hans-Ulrich Obrist, whose recent reflections on the profession were published in Ways of Curating, Hoffmann is not a storyteller. Instead he writes gently provocative essays that immediately make you agree or disagree with him.
Carter Ratcliff, art critic, author, and lecturer, spoke at the New Museum on “Fads in Art.” His diagnosis, delivered in a dryly clinical manner, depicted a horrendous condition with tinges of sin, damnation, and guilt. Art faddism is like a “junkie addiction” in which neurotic need meshes with the market forces of our consumer society, he said. Stressing neurosis as explanatory structure, he touched only briefly on economics that encourage such phenomena.
Is Bruce Nauman psychedelic? Though his early work is generally considered formally and conceptually apolitical, one wonders how much the culture in San Francisco in the mid-1960s—from the Free Speech Movement to the Summer of Love—influenced his mindset at the time. After Nauman graduated from the University of California, Davis, in 1966, he established a studio in a storefront in the Mission District, where he spent several years realizing a now-seminal body of work that drew from the city’s tradition of Funk art as well as Minimalism from New York and Finish Fetish from Los Angeles. Though the artist has only admitted to drinking a lot of coffee in the studio, might have he sweetened his beverage with special sugar cubes?
In her opening remarks for “The World Wide Web at 25: Terms and Conditions” at the art fair Frieze New York, the panel’s moderator Orit Gat remarked that conversation about net neutrality has changed in recent years. Indeed, public awareness regarding the controlling forces behind the delivery infrastructure of the web has risen sharply after two pieces of federal legislation introduced in 2011—the House of Representatives’ Stop Online Piracy Act (SOPA) and Senate’s PROTECT IP Act (PIPA)—failed to develop, along with the “internet blackout” protest on January 28, 2012, and the onslaught of related op-ed pieces over the last couple years.
The legendary artist Robert Morris doesn’t often participate in live interviews, whether in public, in person, or on the phone, so a recent appearance by him at the New York Public Library was a rare treat. Indeed, as the scholar and curator Jeffrey Weiss noted at the outset, “Agreeing to speak is not something he does too freely.” But when Morris, Weiss, and the art historian Julia Robinson gathered in celebration of Weiss’s new book, Robert Morris: Object Sculpture, 1960–1965, the ensuing conversation was a frustrating affair.
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.
Following the symposium’s keynote presentation, the first panel featured two figures from the highly influential Pictures Generation—the artists Robert Longo and Matt Mullican—along with Morgan Fisher, a substitute for the absent Troy Brauntuch. The panel’s moderator, Julia Robinson of New York University, introduced the speakers and loosely moderated a discussion on their personal and professional experiences with the artist Jack Goldstein, the subject of a retrospective at the Jewish Museum.
The Kitchen invited Hal Foster, a historian, critic, and professor of art at Princeton University, to discuss his two recently published books. After an introduction by Tim Griffin, director and chief curator of the venerable institution, the soft-spoken Foster established the evening’s agenda: he would read from the books before being joined by Griffin (and then the audience) for a Q&A. The following narrative draws from both parts.
Philippe Vergne wasn’t kidding when he introduced the evening’s speaker, the artist Richard Aldrich, by declaring, “A world of words is present in your work.” Vergne, director of the Dia Art Foundation since 2008, also stated that any one work by Aldrich, a painter who sometimes incorporates text into his spare canvases of splotchy colors and sketchy lines, contradicts the next. Each piece, continued Vergne, requires its own language.
Despite its alarming title, the symposium “States of Emergency: Objects as Agency circa 1970” was a placidly academic affair, in which discussions revolved around Lee Ufan: Marking Infinity, an exhibition concluding its summer run in the spiral of the Solomon R. Guggenheim’s Frank Lloyd Wright building in New York.