[July 3 Addendum] As a member of AICA-USA (the U.S. section of the International Association of Art Critics), I recently received an email message from the Board of Directors announcing: “AICA-USA has issued a statement of solidarity with the Movement for Black Lives [M4BL].”1 That statement—which had not been submitted to members for input or […]
"systemic racism", AICA-USA, art criticism, avant-garde, conceptual art, contemporary art, critical pedagogy, critical standards, critical thinking, Daniel Patrick Moynihan, de-skilling of art, Defund the Police, diversity, George Floyd, Goya's "Saturn Devouring His Children", Gregory Sholette, John Canaday, M4BL, Marilou Lemmens, Peter Schjeldahl, Richard Ibghy, Seattle's CHOP district, Shaun King, Susan Rothenberg, Trump Derangement SyndromeFor anyone who shares my utter dismay regarding the dehumanization of public art in recent decades,1 I have good news. An extraordinarily ambitious, heartfelt, and skillful work of figurative public art is underway that communicates without the aid of an artist’s statement. It is the slightly larger-than-life sculptural relief for the National World War I […]
A Soldier’s Journey: The Weight of Sacrifice, Commission of Fine Arts, dehumanization of public art, Duane Hanson, Edwin Fountain, figurative sculpture, George Segal, Joseph Weishaar, Maya Lin, National World War I Memorial, Pangolin foundry, Pershing Park, Sabin Howard, Vietnam Veterans Memorial, Weta Workshop, WW I Centennial CommissionEdmund de Waal is the justly acclaimed British author of The Hare with Amber Eyes, a superb history/memoir of the Ephrussi banking family, of which he is a scion. He is also the creator of an unprecedented temporary exhibition now at the Frick Collection in New York City. Entitled Elective Affinities, it is the first […]
ceramist, Chardin, classical realists, Edmund de Waal, Frick Collection, Henry Clay Frick, installation art, netsuke, pottery, sculptureThe Art of Looking (Basic Books, 2018) by art critic Lance Esplund—a frequent contributor to the Wall Street Journal, among other prestigious publications—is yet another of countless attempts to reconcile the public to the bizarre inventions of the avant-garde.1 A more fitting title would be “The Art of Critical Spinning.” Subtitled How to Read Modern […]
Balthus, contemporary art, Damien Hirst, elements of art, Giacometti, Gislebertus, Jackson Pollock, Lance Esplund, language of art, Malevich, Marcel Duchamp, modern art, Piero Manzoni, Piet Mondrian, readymadesHaving just read an article bearing the above title—in the March issue of SchoolArts Magazine—I am reminded of the Seinfeld “show about nothing.” For New Media Art, it turns out, includes just about everything. Which means, in effect, that it is nothing in particular, certainly nothing teachable as a discrete discipline. That has not deterred […]
3D printing, Ai Weiwei, Anthea Hamilton, installation art, Marina Abramović, Nam June Paik, New Media, Northern Arizona University School of Art, Pam Stephens, performance art, SchoolArts Magazine, video art, Yayoi KusamaContemporary pseudo art’s stranglehold on the culture is reinforced by countless prestigious institutions—among others, my alma mater Barnard College. Since 2011, Barnard has been offering alumnae and friends a “lifelong learning” course entitled “Conversations in Contemporary Art” [more], aiming to demystify such work through an insider view of the artworld. Taught by art historian Kathleen […]
Barnard College, contemporary artThe following letter was mailed to Daniel Brodsky, Chairman of the Met Museum’s board of trustees, on September 3rd. (I insert relevant links here.) In lieu of a response from him, I received a platitudinous letter from Jessica Hirschey, the museum’s Deputy Chief Membership Officer, dated September 17. That letter is appended below, along with […]
contemporary art, Max Hollein, Metropolitan Museum of ArtFor today’s art establishment (including once-conservative institutions such as the Metropolitan Museum of Art and the Morgan Library), contemporary art must be radically “new”—the more unprecedented or deskilled in form and transgressive or inscrutable in content the better.1 An intrepid group of dedicated contemporary artists begs to differ, however. They are the largely neglected painters […]
AICA, Anthony Baus, Carroll Dunham, Colleen Barry, David Salle, Grand Central Atelier, International Association of Art Critics, Jacob Collins, Jewish Museum, Justin Wood, Keith Haring, Metropolitan Museum, Morgan Library, Norman Kleeblatt, Phong Bui, Rachel Li, Robert Simon Fine Art, Suzaan Boettger, The Brooklyn Rail, Will St. John, Wolfgang LaibThe founding and activities of Saudi Arabia’s MiSK Art Institute ought to be good news for art lovers. As the first institute of its kind in the formerly arch-conservative Saudi kingdom, it aims to support emerging Saudi artists and increase their interaction and visibility both within and beyond the kingdom. Operating under the auspices of […]
Ahmad Angawi, Ahmed Mater, Al-Qatt, Amr Alngmah, Crown Prince Mohammed bin Salman, Dana Awartani, Edge of Arabia, Islamic art, Misk Art Institute, Rashed Al Shashei, Saudi art, Stephen StapletonWhat’s wrong with today’s “protest art”—which occupies so much of our public space? Mainly this: it’s long on protest and virtually devoid of art. That sad fact has been vividly demonstrated of late by two New York exhibitions: Art and China after 1989: Theater of the World (closed January 7 at the Guggenheim) and An […]
Ai Weiwei, animal cruelty in "art", conceptual art, Dread Scott, Elizabeth Catlett, Guggenheim Museum, Henry Flynt, Liu Xiaodong, Marcel Duchamp, Martha Rosier, Melvin Edwards, Paul Cadmus, protest art, School of the Art Institute of Chicago, Wang Xingwei, Whitney Museum