Good Ol’ Boys of the Appalachian Connection
John Canaday, for those of you too young to remember, used to be senior art critic on the New York Times, and hence, some felt, the most powerful art critic in the country
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
The Most Bleed Possible
Though the outrageous antics of Jim Jones and Charles Manson reverberate through the American public consciousness, a broad history of less-sensational activities from the 1960s an
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
Dubious Relations
The symposium on “The Relationships between Artists and Museums”—featuring David Bourdon, Richard Hennessy, Diane Kelder, Barbara Rose, and Marcia Tucker—was a formal displ
Art School Confidential
It’s no secret that the tuition for all kinds of schools has increased significantly over the last thirty years, and thousands of students take out huge government and private lo
I’ll Be Your Mirror
Matthew Miller’s work for the past five years has primarily involved naturalistic representations of his own unusually shaped, closely shaved head, usually with a neutral, enigma
The Carnival That Mocks the King
What happens when artists act as curators, organizing exhibitions for museums, commercial galleries, and other venues? Well, they become curators, if for one show only. Is this new
Suicide Solution
Boris Groys presented a keynote address called “The Museum as Gesamkunstwerk” to kick off a daylong conference, “Exhibit A: Authorship on Display,” that explored historical
The Market Is the Moment
The question “How the Market Gives Form to Art” is one I ask not at all cynically. I think it’s the question of the ’80s and a difficult one to answer. My premise is that t