Good Ol’ Boys of the Appalachian Connection
John Canaday, for those of you too young to remember, used to be senior art critic on the New York Times, and hence, some felt, the most powerful art critic in the country
Real People as Art
Because the Caucus for Marxism and Art had been granted a very brief time slot, only three artists were scheduled to speak, each to discuss her/his work in the context of social ch
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,
Sublime Leftovers
“Folk Art and Neo-Folk Art” was both exhilarating and illuminating. Panelists touched on important points of original research, while much new territory was explored. However,
The Last Woman’s Panel?
I think the best thing A.I.R. [Gallery] could do would be to have men. I hope there won’t be any more women’s panels and I hope this is the last one I’m on. You get what you
No More “X Over Y Equals Fog”
What do artists want from critics? Barbara Zucker answered for us all: “I want them to be my fairy godmother, champion my career, say I’m a genius, and stand behind me unequivo
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
Value Added
Future generations researching the good old days at the College Art Association’s Annual Conference may take this panel for a distillation of its moment, as it casually splices i
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
“Crisis” in Criticism: Report #2
Anticipating yet another version of the standard critic’s disclaimer, “We have no power and no one reads us, anyway,” I found the New School’s auditorium overflowing with a