Kill the Expert: An Interview with Brian Droitcour
The word “post-internet” is a useful, if maybe not quite necessary, evil. First attributed to the writing of artist Marisa Olson, the term has…
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Independent Projects Extends on the “Curated Fair,” with Mixed Results
An infamous art historical tale goes a little something like this. In April of 1917 the Society of Independent Artists was preparing for its…
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A Theory of Everything: On The State of Theory and Criticism (Part Two)
Continued from “A Theory of Everything: On the State of Theory and Criticism (Part One)” Looking at Towards an Anthropology of Influence, it’s possible to see…
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A Theory of Everything: On the State of Theory and Criticism (Part One)
Given that I’ve chosen to contribute to a platform that boasts “a return to art criticism,” it would be worth considering what that might…
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The Commons of Aggregation: The Case for Net Art as Public Art
Let me begin with an art historical chestnut — a 1855 painting by the French painter Gustave Courbet called The Artist’s Studio, A Real…
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Feature Art Fair’s Focus on the Art, and the Currents That Emerged
The latest fair to arrive to Canada’s growing art market was named Feature, but could have been titled Focus. With only twenty-three galleries, and…
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Working with the Material at Hand: A Roundtable on Regionalism
Since the London Regionalists’ first wave of activity in the early 1960s, it’s become clear that the movement wasn’t isolated to a single generation…
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Nice Things: The Pleasure Principle in Jeff Koons and Cory Arcangel
If you’ve taken the New York subway in the last couple of months, you’ve probably seen advertisements for the Whitney Museum’s Jeff Koons exhibition….
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Fossils
Enthusiasts probing the furrows of British art are currently liable to stumble across one of two types of fossils. One, London’s major galleries and…
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How to Write About Contemporary Art
First, don’t. Don’t intend to write about art at all. Write about something else. Go harrowingly into debt for an MFA in creative writing…
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