Berger’s art criticism succeeds because of its tangibility — it is grounded in human experience, historical events, and the physical artworks.
Washington, DC — “Words could not express what an agreeable spectacle this was for me to see all at one time such a prodigious quantity of every kind of work,” wrote Jean Rou in his Mémoires inédits et opuscules.
This past May, after 30 years on the job, Kenneth Baker announced his retirement as art critic for the San Francisco Chronicle. Today, his replacement was announced.
CHENGDU, China — ARTWOCA’s writing is part ferocious critique, part gossip, and part adventure in typography.
It has often been said that writing about art is like dancing about architecture. Nearly as often, it has also then been said: But I’m going to do it anyway.
Many criticisms have been leveled at art fairs.
HALIFAX, Nova Scotia — After a total mindfuck of a weekend at Superscript, perhaps it is fitting that I began writing this attempt at a postscript in a note on my iPhone in airport terminals both with and sans-wifi, while hovering over grids of gradated green, ascending through strata of cumuli and back.
If you’re looking for a very generous review of the Kehinde Wiley exhibition at the Brooklyn Museum, read Roberta Smith. If you’re looking for one that’s startlingly homophobic and racist, read Jessica Dawson.
On January 17 a group of performers hired by a French artist smashed nearly half of the artworks in his new exhibition, then this happened.
Once upon a time, I asked New Yorker magazine art critic Peter Schjeldahl …
Two weeks ago, when critic Ken Johnson reviewed Michelle Grabner’s current solo exhibition in the New York Times, he fell into a trap. Johnson didn’t like Grabner’s work, which is fine, but rather than breaking it down to understand why he didn’t like it, he resorted to half-baked biographical stereotyping.
On Sunday, April 27, an event jointly organized by AICA International and EUNIC New York will be probing the realities facing art critics in Europe.