Forgetting What You Know
My entry into art was haphazard. Beyond the general presence of images of art in my home (reproductions of Gauguin, Matisse, and Picasso) and now-forgotten visits to museums at an early age, my first real encounters with art occurred at the movie theater, to which my parents would take me often . . .
A Response to Adam Lehrer’s “The Limits of MAGA Art”
Today, there is really no urgency to reflect on Jon McNaughton’s body of work. Adam Lehrer’s recent article in Compact, “The Limits of MAGA Art,'' stakes this out clearly. There is much less danger to endorsing McNaughton in the midst of a failing Biden presidency than there was at the height of anti-Trump hysteria . . . Why address it at all then?
The Legacy of Political Music: A Conversation with Frederic Rzewski
Jim Igor Kallenberg interviewed the late Frederic Rzewski.
When the Critics Saw
A work of art has never graced the cover of the journal October. Since the first issue was published in 1976, the front cover has only ever carried the journal’s allusive title, spelled out in large capitalised letters underneath the smaller italicised headings of ‘art’, ‘theory’, ‘criticism’ and ‘politics’ (in that order).
Review: Art After Stonewall, 1969-1989
Gay and lesbian artists would be best served by curators and gallery-goers taking their work seriously as art, and rejecting the sexualized promotional copy which today passes for queer aesthetics.