Not So Disappearing Anymore

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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 when the art museum—whether showing controversial photographs by Robert Mapplethorpe or hosting the contentious 1993 Whitney Biennial—was a primary battleground.

The Future of Art Bibliography

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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 Getty Research Institute organized two meetings at the Metropolitan Museum of Art and the ARTstor office in New York on April 20–21, 2010.

Right Here, Right Now

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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 1990 hit “Right Here, Right Now,” which reached #2 on the Billboard charts, repeated in my mind at “Periodizing Contemporary Art,” a lecture held at the Museum of Contemporary Art, Los Angeles, on the eve of the College Art Association’s 2009 annual conference.

Before and after Institutional Critique

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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 Matthew Jesse Jackson called “Before and after Institutional Critique.” Rather than summarize Anastas’s enlightening talk or describing Fraser’s video from 2003—if you know it, you know it—I want to offer two thoughts, on both the audience for the work and the artist herself, that popped into my head while listening to Anastas speak.

 

IN TERMS OF

Reviews of lectures, panels, interviews, conferences, and other live speaking engagements in the visual arts.

 
Funding for In Term Of has been provided by the Arts Writers Grant Program.