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Pick from More Themes
John Haberin New York City
Must art serve or fight back?
Traditionally, art holds out a pristine world of beauty. It serves God and princes, but it stands apart from politics, science, and culture. Can this age recover the connections? Must gallery politics and museum empires mirror national and global ones?
- Theory
- Art as Black Friday year round
- The future of the gallery
- The future of art after Covid-19
- Selling off the permanent collection
- Arts funding in a free society
- Why art makes headlines
- Complicity and the culture industry
- Complicity and the art world
- Art, money, and spectacle
- The imperative of political art
- Grief, grievance, and black America
- Art's place at Ground Zero
- The gallery as multiplex or up for rent
- Art, real estate, and Hudson Yards
- Political art: an interview
- Detroit's museum and a city's future
- A public collection as a public responsibility
- Architecture's responsibility to public spaces
- Do openings still matter, and does art?
- Art fairs: an irresistible force?
- Art, text, and their censors
- Neoconservatives
- Olympia and the black model
- Moral truth and opinion
- Science, art, and Postmodernism
- Science's twist on pluralism in the arts
- How New York stole the idea of the sublime
- Art—of the 1980s or now—and "civilization"
- Originality and the birth of the museum
- Romanticism and museums as battlegrounds
- When markets drive art and culture
- Academics, collectors, and niche markets
- Markets, old masters, geniuses, and gifts
- Should MoMA's chief curator step down?
- Museum blockbusters on the cheap
- Quality or diversity: The Brooklyn Museum
- Museums and the art of real estate
- Teabaggers, pluralism, and shock art
- Small museums: expansion or partnerships?
- The ethics and art of "Art Advising 2.0"
- The price of museum expansions
- The many afterlives of Nazi-looted art
- Struggling older artists and cynicism
- Native Americans and Western eyes
- Should outsider art enter the mainstream?
Practice My reviews discuss some other outsiders in art, particularly blacks and Jews:
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How good is video and computer art?- Theory
- From nonsites to Web sites
- Art and the virtual museum
- How good are "virtual exhibitions"?
- When can science enter art?
- Does virtual reality spin lies?
- Social media's perpetual revolution
- "Dreamlands" of immersive cinema
- Criticism with a stop button
- Is a video a performance or new media?
- Who else invented video art?
- Digital media, genealogies, or communities?
- Does computer art offer anything new?
- Digital photography and belief in the real
- Motion, vision, the body, and illusion: I
- Motion, vision, the body, and illusion: II
- An "analog city" hold out for digital art
- Social media, privacy, and corporations
Practice As a critic in a new medium, I have to take in the world in pixels. Yet I consistently find video suspiciously old-fashioned:
Is the best art a fake?
Nothing is dearer to me than the creative act. Yet art history describes commissions and workshops, tradition and influence, copies and multiple castings. Pop and Minimalism even take their life from mass production. So are critics right when they look past the whole idea of authenticity?
- Theory
- Modernism and authenticity
- The originality of the avant-garde
- The hypothetical work of art
- What was realism?
- What good are the arts—and who says so?
- Modernism, theatricality, and a visit to Chelsea
- Appropriating appropriation
- Reproductions—or popular art with an aura
- When art takes science—and vice versa
- A dialogue between art and craft
Practice Instead of seeing through it, maybe they should see what it means. My reviews argue that originality always matters, but its meaning changes historically:
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Who lies behind art's images?- Theory
- Ethics, art, and its creator
- The "new" art history
- Lacan: a primer for pre-post-structuralists
- Lacan's great expectations for Dickens
- How New York stole the idea of the sublime
- Appropriating appropriation
- A critic's reveries—and the artist first facing a landscape
- When art takes science—and vice versa
- Who rules MoMA QNS and a museum empire?
- Motion, vision, the body, and illusion: I
- Motion, vision, the body, and illusion: II
- Why artists are trashing Chelsea
Practice My reviews argue for remembering the presences in a work of art, but always as the humanity of a fiction:
