Page 2 - Michael Fried News Today

In a letter to the Santa Barbara Museum of Art's board, eight artists included in the nixed exhibition denounce the “outrageous” termination of the show’s curator, Eik Kahng.

The Santa Barbara Museum of Art canceled Three American Painters: Then and Now months before the opening and terminated its chief curator.

Minimalist sculptor known for his ‘pile of bricks’ at the Tate, and who faced accusations over the death of his wife, Ana Mendieta

THE FOLLOWING CONVERSATION, which took place at Kerri Scharlin’s “salon” in New York on November 5, 2023, is published on the occasion of the tenth anniversary of the series of six articles that Michelle Kuo, then chief editor of Artforum, commissioned from Thierry de Duve and published in 2013–14. They are the basis for “Don’t Shoot the Messenger,” the main section of de Duve’s new book, Duchamp’s Telegram: From Beaux-Arts to Art-in-General (Reaktion Books, 2023).

Given my interest in painting, I found myself going to Milwaukee to see an exhibition that promised to be taking the pulse of contemporary American painting—all the works in it had been made in the last five years. A show of fifty paintings by fifty different painters who the curators claimed were defining the field of contemporary painting seemed a bold move, amidst the general confusion that has been generated by AI, market manipulation, auction house publicity, critical pronouncements, a...

Jackson Arn on “Needy Machines,” the artist’s show at Candice Madey, which features tile sculptures and mirrored screens that display health-care documents.

On this week’s episode of Start Making Sense, conversations from our archives, where Rachel Kushner reports on Palestinian refugees and Adam Shatz talks about Edward Said.

a href= http://www.davidrichardgallery.com target= _blank David Richard Gallery /a is showing Ronald Davis, Paintings: 1960s through 2010, an exhi

The Milton Avery Graduate School of the Arts at Bard College (Bard MFA) is pleased to present Stage Presence, the thesis exhibition of the class of 2024.

This week, the editors pair two pieces by Hal Foster: his 2012 essay on Artforum’s early years and a new appraisal of The Anti-Aesthetic at forty.“The notion of postmodernism was once a great stimulant to art and thought,” Hal Foster writes in Artforum’s September issue. “Today, it feels like another anti-aphrodisiac of the just past.” The critic’s reflections on the intellectual hothouse that produced The Anti-Aesthetic—edited in 1983 by Foster at the tender age of twenty-eig...