Using Fair Use
Under my capacity as managing editor for the College Art Association, I live-tweeted a session at the 2016 CAA Annual Conference in Washington, DC. It was the first time I had atte
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,
Value Added
Future generations researching the good old days at the College Art Association’s Annual Conference may take this panel for a distillation of its moment, as it casually splices i
Writing for Socially Engaged Art
After being asked to participate on this panel, I wanted to know what kind of writing on socially engaged art is already out there. My conclusion is that there’s a lot of writing
The Well-Hung Show
To conclude the conference “Exhibit A: Authorship on Display,” two speakers—a curator and an art historian—offered their thoughts on the day’s events. Dieter Roelstraete,
The Carnival That Mocks the King
What happens when artists act as curators, organizing exhibitions for museums, commercial galleries, and other venues? Well, they become curators, if for one show only. Is this new
Art Activity but No Art Business
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 settle