Posted on July 18, 2025, 8:53 PM, by jfriedman, under
art history.
Perhaps this is why Alpers is befuddled by today’s disciplinary confusion in which art, the master, is subjugated by art history, supposedly its emissary. Consider the following remark she made in a 2022 follow-up to the earlier conversation with Ziegler: “I agree with my great, late art historian friend Michael Podro, who said that painting has self-substance that insulates it from events and changes in the world of things—political, religious, or personal. Painting just goes along.”
There is a new contender for the most effective weapon in the propaganda wars: photorealistic, generative AI art.
Posted on February 2, 2023, 12:28 PM, by jfriedman, under
Public art.
Art and politics simply do not mix, and attempts to force them together reduce the efficacy of both.
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theembrace Comments Off on Why the Boston MLK memorial misses the mark |
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An article for The New Criterion co-authored with friend and colleague Professor David Hawkes. It was recently republished in the New Discourses. “The most ruthless, radical fringes of all great revolutions have drawn much of their initial support from more peaceful, moderate parties. They have also been unvaryingly efficient at eliminating their erstwhile allies once […]
My article “The art world’s ‘hidden enemy’” on the subject of purges for sexual misconduct in the art world is out in the Decemer issue of The New Criterion. (The New Criterion, Volume 36 Number 4, on page 86). Here is the full text of my article: The art world’s “hidden enemy” While preparing my […]
LG Williams, Salaryman/Superman, 2011, installation view Tana’s director Tamura Williams’s Kyoto Gallery dealer Baron Osuna of Super Window Project (right) and Williams’s Tokyo Gallery dealer Tamura (left) Still independent curator Shai Ohayon and Beatriz Inglessis The SHIBUHOUSE gang from left to right: Nakajima-san (aka DOPE MAN), Toshikuni-san and TAIKI-SAN (the 3rd house leader) Tana’s latest […]
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Yves Klein 1 Comment |
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