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
Real People as Art
Because the Caucus for Marxism and Art had been granted a very brief time slot, only three artists were scheduled to speak, each to discuss her/his work in the context of social ch
New Realism at Museums
Since the original title of this panel was “Museums and the Reality Principle,” the artist-listener might have expected an adrenal in-rousing discourse on exhibition politics,
Sublime Leftovers
“Folk Art and Neo-Folk Art” was both exhilarating and illuminating. Panelists touched on important points of original research, while much new territory was explored. However,
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
Value Added
Future generations researching the good old days at the College Art Association’s Annual Conference may take this panel for a distillation of its moment, as it casually splices i
Not So Disappearing Anymore
Drop “identity politics” into any art-world conversation now and you’re likely to get an eye roll—“so unfashionable.” This wasn’t the case twenty years ago, a time wh
The Future of Art Bibliography
In response to the uncertain future of the Bibliography of the History of Art (BHA), and concerned with helping anticipate and facilitate new developments in art scholarship, the G
Right Here, Right Now
The choruses to Billy Joel’s number-one single “We Didn’t Start the Fire,” released a couple months before the Berlin Wall fell in November 1989, and Jesus Jones’ spring
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