The Trashy Place Is a Happy Place
A recent talk by the Brooklyn-based critic Naomi Fry was as wide ranging—one could even say scattered—as both her interests and her curriculum vitae. “I always have to remind
Not So Disappearing Anymore
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 wh
Stick to Your Gunns
When Tim Gunn was writing his first book, the designer Diane von Furstenberg told him to never lose his voice as an educator. Gunn, a fashion consultant and the cohost of the telev
Body of Work
Laurel Nakadate’s presentation, a standard chronological overview of her body of work, at New York University was surprisingly underwhelming. Apparently she’s much less provoca
Spectacular Vernacular
“In fifty to one hundred years,” Brian Droitcour said during his lecture on “Vernacular Criticism” at the New Museum of Contemporary Art, “the exhibition review might bec
A Crisis of Critique
Lately I’ve thought about the difference between a work of art that is about a particular subject and one that is a critique of that same subject. Many in the a
First, Do No Harm
“Is it ethical for an artist to make work that sells?” was the first question asked of Randy Cohen, who responded by saying that terms like “sincerity” and “ethics” do
Closed until Further Notice
For over two weeks this month, the museums of the Smithsonian Institution, the National Gallery of Art, and other national memorials, parks, and zoos closed their doors and locked
Certificates of Authenticity
The second and final panel on the symposium for the Jewish Museum’s exhibition Jack Goldstein x 10,000 featured presentations by two artists—Kathryn Andrews and Paul P