Spectacular Vernacular
“In fifty to one hundred years,” Brian Droitcour said during his lecture on “Vernacular Criticism” at the New Museum of Contemporary Art, “the exhibition review might bec
Closed until Further Notice
For over two weeks this month, the museums of the Smithsonian Institution, the National Gallery of Art, and other national memorials, parks, and zoos closed their doors and locked
The Emaciated Spectator
What is an audience? Anyone and anything, really: concert ticket holders, participants in a political rally, a random gathering of passersby. A filmmaker or playwright certainly wa
Art after Institutions after Art
For the final panel of the Museum as Hub Conference, called “Institutions after Art,” the moderator, Taraneh Fazeli, education associate at the New Museum, wanted to explore in
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
Toward a Strategic Regionalism
According to Annie Fletcher, curator at the Van Abbemuseum in Eindhoven, the Netherlands, the professor Irit Rogoff once wrote that “you can’t have a position without a locatio
How Does It Feel to Feel?
A focus on inventive educational programming in art museums is decades old, as Michelle Jubin has brought to light in her essay “Museum Education and the Pedagogic Turn,” but t
Contemporary Histories of the Historical Contemporary
This panel celebrated and promoted the release of a new anthology called Contemporary Art: 1989 to the Present (2013), edited by the event’s moderators, the art historia
Affective Technologies
The Kitchen invited Hal Foster, a historian, critic, and professor of art at Princeton University, to discuss his two recently published books. After an introduction by Tim Griffin