The Money Pit
In November 1973, Walter De Maria wrote to his former dealer, Virginia Dwan, seeking funds to create a second, larger version of 35-Pole Lightning Field, a work of Land ar
Make American Art Great Again
The audience gathered in the Phyllis Harriman Mason Gallery of the Art Students League, a midtown Manhattan art school founded in 1875, was mostly middle-aged folks and senior citi
Good Ol’ Boys of the Appalachian Connection
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
Real People as Art
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 ch
New Realism at Museums
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,
Sublime Leftovers
“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,
The Still Life
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 ty
Good for a Girl
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 t
The Last Woman’s Panel?
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
Running in Circles
Olivier Mosset was in town for the opening of his exhibition at Parapet/Real Humans, a project space run by Amy Granat in a storefront in the Fox Park neighborhood of Saint Louis.