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,
“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
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
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
Flowers and a Nasty Note
Halfway through this conversation, the New York Times art critic Roberta Smith was asked, “How do you choose what to write about?” She responded by stating that it’s
New York, New York, New York
What did this evening’s panelists—three artists who had moved to New York from across North America around the turn of the century—have in common? If you guessed a burning de
Our Rob Storr
When in 2001 the curator Robert Storr mentioned to his friend, the German painter Gerhard Richter, that the Bonn Kunstmuseum was hosting an exhibition of work by the abstractionist
Grrrl Power
In a new publication devoted to modern and contemporary art, my writing the first essay on Riot Grrrls may seem amiss, but considering that a passion in music preceded my interest
Tuesday Talks: Paul Chan and Jerry Saltz
Did you get into the Paul Chan lecture? Someone at SVA said they called Columbia and were told only Columbia grad students can attend those lectures. I forgot that Jerry Saltz was
Tino Sehgal Versus a World Full of Objects
At his talk at the Guggenheim Museum last night, the artist Tino Sehgal did not say much that was all that different from the interview and article last year in Artforum,