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
Running in Circles
Olivier Mosset was in town for the opening of his exhibition at Parapet/Real Humans, a project space run by Amy Granat in a storefront in the Fox Park neighborhood of Saint Louis.
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.
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,
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
Next Question: Is Art Dead?
The subtitle of this panel, “Is Jerking Off Getting Out of Hand?,” could mean anything from, “Once you’ve seen one jerk-off in an art context, you’ve seen them all, so a
Pawns in the Game
The journalist and sociologist Sarah Thornton was interviewed about her latest book, 33 Artists in 3 Acts, at the New York Academy of Art, where she was also the school’
End of Bohemianism
The most talked-about art writing of 1987 College Art Association week was Janet Malcolm’s New Yorker profile of Ingrid Sischy, editor of Artforum. Hilton Krame
Art Image as Consumer Product
Carter Ratcliff, art critic, author, and lecturer, spoke at the New Museum on “Fads in Art.” His diagnosis, delivered in a dryly clinical manner, depicted a horrendous conditio
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