“Crisis” in Criticism: Report #1
The New School auditorium is an antiseptic affair after the historic Great Hall at Cooper Union and the raunchy amphitheater at the School of Visual Arts, but its acoustics are muc
The Fever Peaks
In April 1987, New York magazine ran a story on “Art Fever,” picturing socialite art collectors on the cover and evoking the hum of art rapidly transmuting into gold
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
Gold Records
An afternoon symposium that coincided with the Jewish Museum exhibition’s Jack Goldstein x 10,000 began with a keynote presentation by the artist and filmmaker Morgan Fi
Welcome to Post-Modernism
I went to this really weird panel last night called “Post-Modernism in Art and Literature,” only it was mostly John Simon, Michael Graves, and Hilton Kramer in the same room, s