Make American Art Great Again
The audience gathered in the Phyllis Harriman Mason Gallery of the Art Students League, a midtown Manhattan art school founded in 1875, was mostly middle-aged folks and senior citi
Hand Washers
“I was wondering whether anyone has anything good to say about age as an organizing principle?” someone asked during the audience Q&A for “Curators: The Younger Than Jesu
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
How the Ruling Class Stole the Idea of Contemporary Art—and How to Get It Back
At the end of the first chapter of 9.5 Theses on Art and Class, the New York–based art critic and editor Ben Davis writes that a “theory of class might provide the mis
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
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
Before and after Institutional Critique
I caught Rhea Anastas’s paper, “Untitled by Andrea Fraser: A Short Reception History 2002–5,” in a 2006 CAA Annual Conference session chaired by Andrew Perchuk and