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,
Much Detachment, Very Labor, So Painting
A well-attended lecture by Isabelle Graw, a professor of art theory and a founding editor of the journal Texte zur Kunst, was titled “The Economy of Painting: Notes on t
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
Conversation with the Sound of Its Own Unraveling
The legendary artist Robert Morris doesn’t often participate in live interviews, whether in public, in person, or on the phone, so a recent appearance by him at the New York Publ
The Art Talk That Ate New York
Titled “What Price Art,” and provocatively subtitled “The Economics of Art: An Agenda for the Future,” the conference promised to explore the economics of the visual arts m