Much lies before you, so I wont keep you long except to tell you how this came about. When Phong asked me in mid-December to edit the February issue of ARTSEEN, I thought, thats impossible.
We have mastered aesthetic criticism. Now its time for an ethical one
Tishan Hsu speaks with art historian and critic Martha Scwhendener about his painting and sculpture practice, the relationship of the screen to the body, and Vilém Flussers prescient theories of photography.
For me, art criticism is in dialogue with art, but also with culture. It is not merely supporting or evaluating art, but describing how it functions within and as a form of culture.
The idea of progress was widely debunked by critical postmodernism, but it is hard to dispute the fact that some genuine progress has been made for women in the art world.
Due to unforeseen and unexpected circumstances, I arrived in the 1980s at a boarding school in Wallingford, Connecticut. I immediately liked my surroundings. The students were smart and came from all over the world.
The Hudson River School painters hiked mountains, climbed trees, and paddled rivers and streams. But the images they produced weren’t made outdoors. Many of them were painted in the Tenth Street Studio Building in Lower Manhattan. By the 1860s, it was like a small landscape-painting factory.