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
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,
Good for a Girl
How do you deal with sexism in the music industry, personally and professionally? This question from Liz Deichmann, operations and event coordinator at the Luminary, came halfway t
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
Where All the Action Is
I first discovered the work of Lee Lozano (1930–1999) in 1997, when reading the reprint of Lucy R. Lippard’s classic chronology of Conceptual art, Six Years: The Dematerial
Sugar and Spice and Everything Nice
The artists Alex McQuilkin and Cindy Hinant and Kathy Battista, director of contemporary art at Sotheby’s Institute of Art in New York and senior research fellow at the Universit
Male Critics Grilled and Toasted
The fact that this panel of four male critics and editors drew the largest audience I have seen at any comparable woman’s event tells all about power and the perception of power
Hot or Not
“I sense some confusion,” observed Casey Jane Ellison, an artist and comedian who hosted a panel called “‘Aesthetics’ of ‘Female’ ‘Attractiveness’” at Frieze Ne
Not Just Another Ism
Joan Semmel began by citing Lucy Lippard: the more explicit the imagery, the less evocative the erotic work. Response from panelists was poor until John Kacere broke the ice with a