Tell Me What You Know
You know how lyrics from pop songs look trite and sometimes embarrassing when written down, but come alive convincingly when performed? It’s the same for artist’s talks. Some e
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
The Forever No
“Zombie Formalism” and Other Recent Speculations in AbstractionWednesday, December 10, 2014School of Visual Arts, SVA Theatre, New York Last April the painter and critic Walter
I’ll Be Your Mirror
Matthew Miller’s work for the past five years has primarily involved naturalistic representations of his own unusually shaped, closely shaved head, usually with a neutral, enigma
The Authorial Intent
Is it possible to be indifferent to Jeff Koons? For many years my attitude toward the artist’s work has been impassive and disinterested. It exists whether I like it or not and h
Night of the Shamans
Once upon a time in a constantly collapsing and re-rising city, the inhabitants made buildings with large spaces where people sweated to make things for others to sell. But one day
Repainting the Battle Lines
Craig Owens, senior editor of Art in America, sat with the six panel members and spread his hands, butterflylike, cigarette dangling from the long fingers. We, seated on t
The Market Is the Moment
The question “How the Market Gives Form to Art” is one I ask not at all cynically. I think it’s the question of the ’80s and a difficult one to answer. My premise is that t
Certificates of Authenticity
The second and final panel on the symposium for the Jewish Museum’s exhibition Jack Goldstein x 10,000 featured presentations by two artists—Kathryn Andrews and Paul P