Even if we believe in certain unspoken art criticism criteria that are involuntary but formed and informed by extended looking, nothing can be proved. We can always be wrong.
When I had to do one of the most difficult things in my Artillery career, I felt like I made a huge mistake: I fired my gossip columnist, Mitchell Mulholland.
It’s embarrassing admitting this, but in looking back over my many mistakes operating in the art world, some of my most egregious errors regard the names of the people populating it — how easy it is to get some of them wrong.
I’ve never read something by one of my peers and thought ‘s/he’s mistaken!’ Although I have often disagreed. Whose mistake is that? It’s not the writer’s.
My biggest regret is that I tried a little too hard to fit in when I first began writing art reviews in 1977.
Errors are the focus of this edition, as writers Lucy Lippard, John Yau, Robert Storr, Karen Wilkin, Kimberly Bradley, Tulsa Kinney, and Erin Thompson offer takes on being wrong.
Rosamond S. King, a Brooklyn-based poet, is a TriniGambianAmerican, has been publishing poetry since 1994, and won a Lamda Literary Award in 2018.
John Wilson’s 1952 mural “The Incident,” is a salient meditation on the horrors of lynching and though physically lost, the mural endures in archival images, preliminary sketches, and studies.
For better or worse, words like “proud,” “unapologetic,” and “resilient” have come to define Texans, and these words and this attitude also define a spectrum of Black artists who are from, or have lived in, Texas.
I learned to love Juneteenth long before I became aware of the emancipation of enslaved Black people. I think my father was his happiest on that day; he permitted himself to do whatever he wanted on Freedom Day.
As Juneteenth approaches, I’ve been given reason to consider a confluence of events and ideas: my family’s life-long process of becoming Black and having to police my sons’ consumption of a certain kind of blackface.
The relationship between Black liberation and photography reveals many things about our notions of freedom and the limitations of image making as a form of common truth.