The Most Bleed Possible
Though the outrageous antics of Jim Jones and Charles Manson reverberate through the American public consciousness, a broad history of less-sensational activities from the 1960s an
Next Question: Is Art Dead?
The subtitle of this panel, “Is Jerking Off Getting Out of Hand?,” could mean anything from, “Once you’ve seen one jerk-off in an art context, you’ve seen them all, so a
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
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
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
New York, New York, New York
What did this evening’s panelists—three artists who had moved to New York from across North America around the turn of the century—have in common? If you guessed a burning de
Making Towels for Target
Moderated by the painter Annika Connor, “Art outside the Gallery” addressed the ways in which savvy promoters can reach audiences for art beyond the traditional white cube. Con
Chrissie Iles and Video-Art Distribution
For her lecture at Hunter College, Chrissie Iles, curator of film and video at the Whitney Museum of American Art, gave a basic overview of projection art (film, video, slides) fro
Before and after Institutional Critique
I caught Rhea Anastas’s paper, “Untitled by Andrea Fraser: A Short Reception History 2002–5,” in a 2006 CAA Annual Conference session chaired by Andrew Perchuk and