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,
Life Is Changed
Tehching Hsieh created among the most radical, strenuous, and bizarre bodies of work in all of art history. Only prisoners with life sentences or captured soldiers could ever relat
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
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
Paying Artists, from MoMA to Momenta Art
Based in New York, the six-year-old advocacy group Working Artists and the Greater Economy (W.A.G.E.) has supported a single issue: payment to artists working with nonprofit organi
The Paradoxical Absolute
If I understand her convoluted comment-question correctly, an elderly woman in the audience wanted to know, during the Q&A session, if the speaker, Frances Stark, had just done a p
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
“Crisis” in Criticism: Report #1
The New School auditorium is an antiseptic affair after the historic Great Hall at Cooper Union and the raunchy amphitheater at the School of Visual Arts, but its acoustics are muc
Institutionalized
“Networked Institutions/Institutionalized Networks” sought to shed light on the dynamics of collaboration among institutions—now considered a common way of working in the art
Our Rob Storr
When in 2001 the curator Robert Storr mentioned to his friend, the German painter Gerhard Richter, that the Bonn Kunstmuseum was hosting an exhibition of work by the abstractionist