Schor’s extraordinary paintings and drawings, produced during her time at CalArts in the 1970s, redefine female “wildness.”
With Martha Wilson acting as a moderator, Schor and Bee discuss how and why in the 1980s they developed M/E/A/N/I/N/G magazine as a forum for and by artists.
Isabel Kim’s delightful Infinite Artwork Simulator is “a tongue-in-cheek artwork description generator” based on Mira Schor’s musings on “Recipe Art.”
In her latest exhibition, Death Is a Conceptual Artist, feminist icon Mira Schor delivers a slow-motion knockout blow.
“Thank you guys for coming,” Alexis Clements said last Thursday night to a small crowd at the Brooklyn Museum largely comprised of women. “Actually, I shouldn’t say ‘guys,’” she interrupted herself, “Thank you all for coming.” That introduction set the tone for a panel that the playwright, performer, and Hyperallergic contributor moderated, called “The Art of Feeling: Contemporary Arts Writing and the Internet.”
There are so many fault lines between art and politics, navigating them can feel dizzying and often futile. Conversations about identity politics, economics, heritage, corrective curating, and the broader issues of inclusion and exclusion are important but can be a drag on art itself, to the point where it can seem like the work vanishes behind real or imagined social mores. Such was the case with Ken Johnson’s review last fall in the New York Times of MoMA PS1’s Now Dig this! Art & Black Los Angeles 1960–1980 and the debate it engendered. The review spurned a lot of groaning about uninformed opinions and who constitute the “gatekeepers” of the art canon. A petition for the Times to reconcile this “editorial lapse” with its normally higher standard of writing was started as angry voices accumulated, gaining over 1,600 signatures.
At one point, Arts & Labor member Blithe Riley, who was in the audience at the round table, made a comment about “freaking out a little.” This highlighted the disconnect between the political and social aspirations of Arts & Labor and the general role of art critics for me.
Last Thursday night at Housing Works Bookstore, Occupy Wall Street affinity group Arts & Labor organized a panel of New York art writers to discuss the labor of art criticism. Village Voice and New York Times critic Martha Schwendener opened the round table with the question, “What is the labor of writing?” Schwendener and Arts and Labor proposed a discussion about the working conditions of art criticism in an effort to dispel some prevailing myths, which she framed as power, authority, and allure. She then started things off with an open question to the panel about how they became art critics.
Painter, author and critic Mira Schor’s current show at Marvelli Gallery delves into the world of language. The show is titled Voice and Speech, but there’s an erie silence to these works.
Jerry Saltz is like the art world’s hip uncle. But is he getting too curmudgeonly to hang with the kids? In the critic’s recent New York Magazine essay, Saltz calls young artists “Generation Blank” for being not original enough and too digestible by critics — cliche. Meanwhile, other art youth compare GIF size.
Mira Schor writes about the disturbing reaction of the Gagosian Gallery (and the NYPD) during a silent protest at the gallery’s 24th Street space last week. [HUFFINGTON POST]
The Museum of Modern Art’s Abstract Expressionist New York: The Big Picture, an ambitious exhibition that (kinda) rethinks the standard narrative of Abstract Expressionism (aka AbEx), has been open since October 3. The show complicates things by reintroducing us to artists not entirely within the AbEx canon, putting old favorites in a new context and shining a spotlight on the people and places of AbEx.
The question is: did MoMA and its curators accomplish their goal? We turn to the internet at large for a look at how people have reacted to the exhibition!