Living Well Is the Best Revenge
Liam Gillick, an English-born, New York–based artist and educator, sneezed three months ago and became half deaf. He highly recommends the ear flush that corrected the problem. A
How We Would Give Talks
“What’s going on here?” is first thought a person might have on first encountering a painting by Dana Schutz. One might do well, of course, to ask that same question when vie
Reversing the Theory of Art
Dennis Oppenheim and the Art of Survival, organized by Amy Plumb with Pamela Sharp and Aaron Levy, celebrated the legacy of the seminal New York artist who died this past
Affective Technologies
The Kitchen invited Hal Foster, a historian, critic, and professor of art at Princeton University, to discuss his two recently published books. After an introduction by Tim Griffin
It Chooses You
Josephine Halvorson’s manner of speaking—straightforward and lucid with modest confidence—corresponds directly to her intimate oil paintings depicting close-cropped scenes of
Totally Wired
Philippe Vergne wasn’t kidding when he introduced the evening’s speaker, the artist Richard Aldrich, by declaring, “A world of words is present in your work.” Vergne, direc
Let’s Stall the Conversation
“Is it possible to define a cogent code of ethics in art writing?” asked the promotional statement for this panel, presented by the MFA Art Criticism and Writing Department at
The Coy and Cagey Object
The coffee break after the second section was much welcomed, but the talk by Amelia Jones, professor and Grierson Chair at McGill University in Montreal, did little to alleviate my
Che c’è di nuovo? Non molto.
The symposium’s middle part, “Agency of the Everyday,” was a disappointment. Covering Italy ca. 1970, the gregarious Romy Golan, professor of twentieth-century art at the Gra
When Does a Stone Become a Boulder?
Despite its alarming title, the symposium “States of Emergency: Objects as Agency circa 1970” was a placidly academic affair, in which discussions revolved around Lee Ufan: