In academic art history, the single-author, single-subject monograph—an extended study on an individual artist, a group of artists, or a chronological or geographic range—is typically considered the pinnacle of scholarly achievement. A parallel to it in the hierarchy of subject matter in Western art would be history painting, a large work that addresses a biblical, historical, or mythological subject. To continue the analogy, a coauthored or edited book is comparable to a portrait, and an essay in a book is a genre scene. The article published in a peer-reviewed journal would be the landscape. The lowest form is the book review—the still life of academic writing.
“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.
It’s no secret that the tuition for all kinds of schools has increased significantly over the last thirty years, and thousands of students take out huge government and private loans to cover their educational expenses. Those armed with BFAs are unlikely to make tons of money right out of the starting gate, as the familiar narrative goes. Yet we live in a time in which euphoric articles pronounce the MFA as the new MBA appear with alarming regularity. What should a young artist do?
“It was a look of horror … or a smile,” said Scott Rothkopf, curator of the exhibition Jeff Koons and moderator of a panel discussion called “The Koons Effect Part 1,” regarding the responses he received when telling others of his research for a retrospective on the artist. Artists were interested in Koons, to his surprise, and he noted that Pierre Huyghe is fascinated by the “story that didn’t get made,” and Andrea Fraser enjoys Koonsian economics. Tino Sehgal finds Rabbit (1986) to be an iconic work, the curator continued, and Kara Walker responds to the advertisements for art magazines from 1988–89. For this panel, Rothkopf invited four American artists to discuss what Koons’s work means to them and how it has affected contemporary art.
Is it possible to be indifferent to Jeff Koons? For many years my attitude toward the artist’s work has been impassive and disinterested. It exists whether I like it or not and has some visual interest, but I’ve never cared enough to form an opinion beyond that. Among the most successful living artists, Koons is comparable to Jay Z or U2: a talented mainstream artist whose early output is considered groundbreaking, but whose later works are noteworthy more for their high production values and their exorbitant, multimillion-dollar price tags than their aesthetic worth. Over the years Koons has managed to stay relevant, with critics and journalists dutifully covering his exhibitions and appearances, just as they would report on Bono’s activism and Hova’s exploits.
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 keynote address, delivered by Thomas Hoving, director of the Metropolitan Museum of Art, bounded quickly across the history of museum art buying in the United States and settled on the future role of the art museum. According to Hoving, whose own museum has escaped the financial crunch plaguing art institutions in the 1970s, all is changing for the better. He foresees an emerging “technotronic era” which will not, as Orwell warned, snuff out creativity, but enhance it. “Our Western artistic manifestations will tend to diminish in importance, and we will begin to recognize a multiplicity of centers and styles,” he said, adding that the tastes of a few critics and a small group of curators won’t wield the power they do today.
Not only is art alive, it is thriving, was the assessment given by some of the nation’s foremost museum officials, art dealers, and artists to some four hundred persons at the first World Art Market Conference over the weekend. “Far from being less pertinent, the fine arts and the art museum will become more important,” declared Thomas P. F. Hoving, director of the Metropolitan Museum of Art.
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 appeared to be mostly a media event. The press was given the three front rows, fussed over with TLC. Some four hundred others, dealers, and collectors from around the country, and a few artists hoping to learn about “business,” paid $200 each to see and hear the superstars of the art market. Those expecting a clear view of the crystal ball—specific investment advice—were disappointed. But they got lots of encouragement and word that the art market is very good these days.