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.
How do you deal with sexism in the music industry, personally and professionally? This question from Liz Deichmann, operations and event coordinator at the Luminary, came halfway through the panel “Women in Music.” April Fulstone, known professionally as DJ Agile One, said that her experiences spinning records for fifteen years, specializing for a while in hip hop, have been plagued by “unintentional” sexism, such as comments about her ability to transport two Technics 1200 turntables, which weigh fifty pounds each with a case, by herself. At one venue, an older man was impressed that she was able to set up her equipment on her own.
I think the best thing A.I.R. [Gallery] could do would be to have men. I hope there won’t be any more women’s panels and I hope this is the last one I’m on. You get what you want in this world by surprise, by doing the unexpected. They expect us to continue the way we are…. I don’t think feminism is the real world any more. The point was to get women artists taken seriously. Women still aren’t as equal as men, but I don’t think women’s galleries are helpful any more. I don’t think it helps to be in A.I.R.
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.
Halfway through this conversation, the New York Times art critic Roberta Smith was asked, “How do you choose what to write about?” She responded by stating that it’s the art she really likes or dislikes, no matter if the artist is super popular or under recognized. “I’m interested in the unit of a show,” she noted, yet “we’re in this post-post-post period.” Although Smith gravitates toward “rematerialized objects,” a play on Lucy R. Lippard’s famous notion, “any kind of work can be made now.” This was all good news for the crowd of fifty-plus that gathered in a crit room at the New York Academy of Art, a small graduate school known for figurative and representational work.
“Is it possible to define a cogent code of ethics in art writing?” asked the promotional statement for this panel, presented by the MFA Art Criticism and Writing Department at the School of Visual Arts. The answered offered by the giddy, often flustered moderator, Aimee Walleston, a graduate of the program, was something like “I think, um, I don’t know. It’s an interesting thing to think about!”
Did you get into the Paul Chan lecture? Someone at SVA said they called Columbia and were told only Columbia grad students can attend those lectures. I forgot that Jerry Saltz was also giving a talk last night. I arrived at the studios just as some fellow students were headed over there. So I went with them. It was good in Jerry’s “I’m-not-gonna-beat-around-the-bush-with-you” way. His thing is this down-to-earth, no bullshit thing. There was nothing revelatory in his talk. He said many of the same things one finds in his writing and that he regularly seems to mention.