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
Say It Together, Unmonumentally
“Language is forced on art,” quipped the artist Rachel Harrison to an audience member during the Q&A session of this event. “We’re just throwing words at art all the time.
Critical Conditions
The Serbian sculptor Marko Marković has expressed an interest in museum conservation departments and in the process of finding, restoring, and preparing objects for exhibition. Fo
Nice Guys Finish
Two years ago I stopped attending panels of art critics discussing the state of the field, mainly because the subjects such events would cover could easily be predicted: (1) money,
No More “X Over Y Equals Fog”
What do artists want from critics? Barbara Zucker answered for us all: “I want them to be my fairy godmother, champion my career, say I’m a genius, and stand behind me unequivo
Language Is a Virus
This conversation between the Croatian-born artist Dora Budor, whose science-fiction-inspired installation Spring was on view in the Swiss Institute’s basement, and Chri
The Butcher, the Baker, the Exhibition Maker
Theater of Exhibitions, a slender new book by Jens Hoffmann published by Sternberg Press, offers fifteen brief chapters on curatorial work. While Hoffmann, a 41-year-old c
Where All the Action Is
I first discovered the work of Lee Lozano (1930–1999) in 1997, when reading the reprint of Lucy R. Lippard’s classic chronology of Conceptual art, Six Years: The Dematerial