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Karen archey

The Best of Us, For the Rest of Us: Karen Archey

by Whitney Kimball on April 16, 2013

By now, we have a fairly good handle on New York art stars, but we hear less about the people who love them. In two years of writing for AFC, I’ve owed my art-viewing as much to artists as I have to devoted curators, gallerists, and writers working diligently behind the scenes, knee-deep with the rest of us.

Who are these unsung heroes of the art world? I asked leaders of various emerging art communities for their recommendations, and gathered a series of interviews. Today, the Best of Us for the Rest of Us begins with critic and curator Karen Archey.

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Why Karen Archey is Wrong About Occupy Museums

by Will Brand on October 21, 2011

In a piece yesterday, Karen Archey asked, “Why is Occupy Wall Street Protesting NYC Museums, and Not Super Rich Galleries and Art Fairs?” The post is aimed at Occupy Museums, the Occupy Wall Street Arts and Culture project that began protesting yesterday outside MoMA and the New Museum. Pretty rapidly, however, it descends into personal axe-grinding against Art Fag City. Here’s why she’s wrong.

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Karen Archey at MAP Magazine: Performance and Pedagogy: All Talk, Some Action

by Art Fag City on November 24, 2009

Anton Vidokle’s Night School Contributing Editor Karen Archey discusses the rise of performance and pedagogy in contemporary art practice in this month’s issue of MAP Magazine. The teaser below: Art historian Benjamin Buchloh’s 1980 dismissal of Joseph Beuys' work as 'simple-minded utopian drivel' may have some merit. Although his criticism was directed foremost at the […]

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Karen Archey at Art in America: The Full Yard: Changes at Hauser & Wirth

by Karen Archey on September 29, 2009

Allan Kaprow in his Environment “Yard,” 1967 Pasadena edition with participants. Photo copyright Julian Wasser, via eluxury.com AFC Associate Editor Karen Archey’s latest piece at Art in America Online discusses the opening of Hauser & Wirth’s first gallery in New York City. The teaser below. In 1992, principals Ursula Hauser and Manuela and Iwan Wirth […]

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Karen Archey at Art in America: The Dog Days of Summer

by Art Fag City on September 17, 2009

Henriette Ronner-Knip, A Bichon, 19th century, oil on canvas, Netherlands. From the online exhibition “The Bichon Frisé in Art,” assembled by Edward J. Shephard Jr. Art Fag City’s Associate Editor Karen Archey writes a feature for Art in America on the nebulously defined curatorial project space Art Since the Summer of ’69. The teaser below. Is […]

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Art Fag City at Map Magazine: Karen Archey Reviews The New Easy

by Art Fag City on August 17, 2009

Karen Archey reviews The New Easy at Artnews Projects in Berlin for the UK-based Map Magazine. The teaser below. How easy can you get? Curated by Dutch performance artist Lars Eijssen, The New Easy combines a zeitgeist-appropriate curatorial statement with a solid line-up of emerging artists. Claiming that all work in the exhibition appears to […]

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Thursday Links: Make It So

by Paddy Johnson and Rea McNamara on June 16, 2016

Artnews SA, the Polish Company that briefly owned ARTnews and Art in America, has filed for bankruptcy and will be liquidating all its assets. The bankruptcy was filed just two weeks after Peter Brant assumed all the assets for both publications, and announced that Brant Publications has become their legal owner. [artnet News]
“‘The Present in Drag’ errs by so uniformly investing in the corporate gaze that any radical vision of emancipation from this aesthetic comes off as puritanical. Consumer options are tragically offered as real options. How do we reconcile this corporate violence — which reduces our bodies, wants and needs to data with such cruel effect — with its embodiment by artists, however self-aware?” Karen Archey reviews DIS’s curation of the Berlin Biennale. [Frieze]
Anti-ISIS hacktivists have hit the Internet Archive. The open-access digital library and host of the WayBack Machine were hit with a DDoS attack yesterday because they inadvertently host user-uploaded ISIS propaganda materials. [Motherboard]
Brazilian artist Vik Muniz has a show at Mauritshuis in The Hague showcasing life-sized models of the flip-sides of famous paintings. Expectedly, the details are mundane — ”Mona Lisa” has a written message that says “this way up”, while Matisse’s “Red Studio” is covered in chicken wire. “The back reflects the artist’s studio, it has nails, it has hardware and is always changing. It shows the museum’s role as conservator, too,” says Muniz. [Guardian]
A long-list Gauguin floral still life has been rediscovered in a Connecticut auction house. [Art Newspaper]
Half of the Corcoran art school’s full-time faculty were laid off last month. To put in perspective, out of 19 full-time faculty, only 9 are coming back in the fall.The loss coincides with the school’s class of 2016 graduation ceremony, but also comes at a time of budget cuts, a shrinking student body, and the school’s integration into George Washington University. The latter has become a growing concern for the historical art school’s community, who have felt that the ongoing merger has had a lack of transparency in its proceedings. [Hyperallergic]
Diana Y. Chou has been hired by the San Diego Museum of Art as its new associate curator of East Asian art. Chou has organized museum shows in the United States and Taiwan for the past 15 years, and consulted with the Carnegie when it was reinstalling its Asian art galleries. At the San Diego Museum, she’ll be overseeing a collection containing 7,000 works, organizing shows and being involved with its acquisitions. [Artforum]
Former MoMA film curator Lawrence Kardish weighs in on the institution’s controversial firing of long-time assistant curator of film Sally Berger: “I no longer understand what goes on in my old stomping grounds… Doesn’t a curator have the right to pick and choose what is to be shown under his/her auspices?” Berger’s firing last week was tied with the wrongful cancellation of “Under the Sun”, a documentary about North Korea from February’s Doc Fortnight festival. [Indiewire]
We’ve been looking forward to this all year: it’s Captain Picard Day, so here’s all the Earl Grey recipes you ever needed. [Nerdist]

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Tuesday Links: All You Ever Need to Know to Feel Depressed

by Paddy Johnson Michael Anthony Farley Corinna Kirsch on June 30, 2015

Bot poetry

An essay on bots and poetry that is so good. “These days people are writing poems about fucking on volcanoes. ‘We fucked on a volcano.’ How does that help? How does it do anything to solve anything?” [n + 1 via The Paris Review]
The Whitney’s board of trustees has elected a new president, Richard M. DeMartini, and two new co-chairs, Laurie M. Tisch and Neil G. Bluhm. While Tisch has a background in the nonprofit sector—heading her own fund dedicated to increasing access to art education, economic opportunities, and healthy food—DeMartini and Bluhm are both from the world of finance. Bluhm had served as the board’s president since 2008 and is the founder and president of JMB Realty Corporation—a luxury real estate interest that at one point was the largest property developer in the United States. [ARTnews]
More info about the board of trustees, but not from us: “Also militarizing the Baltimore Police Department is Defense Tech ammunitions, sold by Warren Kanders’ Safariland Group. A vice chairman of the Whitney Museum of American Art’s board of trustees, he is a wealthy investor who for the last 20 years has profited from the suppression of civil unrest.” [Al Jazeera America]
Thank you, Karen Archey, for bringing up Jackie Wullschlager’s recent article in the Financial Times. Writing about the Tate’s exhibitions of female modernists like Sonia Delaunay, Barbara Hepworth, and Agnes Martin, Wullschlager concludes: “Yet none delivers the visceral thrill or intellectual charge of a great retrospective, because none of these artists really changed how we see or think. Has a woman artist ever done so? The stories here show that female artists tend to assimilate and adapt radicality pioneered by men.” There is absolutely no way that you can prove that female artists have not changed the way we see or think or that they have assimilated and adapted radicality pioneered by men—scientific principles would be welcome in art history—not to mention that plenty of exhibitions have shown the influence of women in art. We don’t even know where to start, but let’s try Wack! Art and the Feminist Revolution. Sigh. [e-flux conversations]
A pair of paintings featuring the Confederate flag has gone on display at the Laguna Art Museum in Ocean County, California. In reference to the flag’s controversy and the wave of racial unrest sweeping the nation, the artist G. Ray Kerciu said, “I thought as an old man, we would be past all this stuff. But we’re not. It’s a great disappointment to me.” [Los Angeles Times]
While Greece’s economy is in a tailspin, artnet takes the time to notify us that there is absolutely no news about the troubled country’s under-construction Stavros Niarchos Foundation Cultural Center. [artnet News]
The Great Wall of China is disappearing. By some accounts, almost 30% of the structure has fallen victim to plundering, erosion, and neglect. People are freaking out. [The New York Times]
Hyperallergic’s Robin Grearson reviews Stay in New York, Art F City’s affordable workspace conference, and calls it a “crucial first step.” It’s a great summary for those who missed the conference. [Hyperallergic]
Jerry Saltz explains why everyone should be nicer to gallery attendants…with a picture of Marnie from HBO’s Girls. [Vulture]
WHOA! For the first time ever, the New York Rent Guidelines Board approved a freeze on one-year leases. There’s a couple of caveats to which leases will be affected, but this is historic. [Curbed NY]

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Monday Links: Rain Man Assholes

by Paddy Johnson Whitney Kimball and Corinna Kirsch on January 19, 2015

Karen Archey wonders why creative workers get a pass to be assholes. In a fictitious conversation she uses the term “Rain Man of Criticism” to describe one unnamed asshole people feel compelled to work with. May we never meet this person. [e-flux conversations]
Arts critics are suffering from increasingly strained relationships with the institutions they cover. Opera Australia has removed two critics from their comp list, including one from The Sydney Morning Herald after having received negative reviews. And Theatre Critic Joanne Kaufman from the Wall Street Journal was blacklisted by a press agent from receiving free tickets to show, after she admitted to bolting from certain shows at intermission. This podcast focuses on Denver’s Colorado Public Radio which announced last year it that it will no longer carry broadcasts of the Colorado Symphony. Apparently the main reason for this was editorial—the symphony wanted a lot more positive coverage on the radio. [WQXR via: Hyperallergic]
Emma Sulkowicz, the Columbia University senior who has become nationally known for her performance “Carry That Weight,” will be attending Tuesday’s State of the Union address. She was invited by New York State Senator Kirsten Gillibrand who supports the bipartisan Campus Accountability and Safety Act. [Jezebel]
This “Anime Tongue Tattoos” photo spread looks like a DIS photo shoot, but less weird. Very Internet-y, very Miley, and very many blue wigs. Pretty much, this photo spread crushes anything that once was alt into a pretty, plastic-coated display. [VICE]
China’s Ice-Sculpture Disneyland. [UPI]
In sci-fi movies and lit, female robots are always sexy pleasure machines. [The Guardian]
A dictionary of Harlem Renaissance slang circa 1938. Some terms still stick with us, like “hep cat” and “jive”; others, like “barbecue” (which means girlfriend), have gone the way of slang like “eat my shorts.” [Open Culture]
99% Invisible, a podcast about design, architecture and invisible activity has a great segment on chairs called “On the Edge of Your Seat.” These things are more dangerous than you think—silent killers! For those in the office today, use the posture tips. [99% Invisible]
“Civil rights” and “Martin Luther King Day” now brings up an American flag emoji for Chinese chat users, which is offensive. [The Verge]

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Monday Links: Does Doing Drugs Affect Artistic Quality?

by Paddy Johnson Whitney Kimball and Corinna Kirsch on October 20, 2014

Scene from Andrew Jeffrey Wright’s Bananazz comic strip

This weekend, Twitter raged over an investigative article that wondered why a documentary film on Jeff Koons wasn’t included in the artist’s Whitney retrospective. It wasn’t even included in the gift shop! Let’s face it: this is a non-issue. Museums do not usually include documentaries as part of their visual arts programming. [The Art Newspaper]
Rhizome is in London. Even if you’re not there to attend their off-site programs, the lectures are online. Some lectures have been transcribed for your reading pleasure! Whee! I’m listening to the selfie panel with Amalia Ulman this morning. —Corinna [Rhizome]
Stop venting on Facebook; go to e-flux. This week the non-profit launched “e-flux conversations,” a moderated message board addressing topical issues. So far the best discussion has been Karen Archey on “top female curator” lists. [e-flux]
We might never know what killed Joan Rivers because her daughter has refused an autopsy. Now get back to work. [Gawker]
Solange is throwing an art party during Prospect.3. Bey’s little sis recently relocated to New Orleans. [NOLA]
Album sales are plummeting. Duh. [Death and Taxes]
Painter Wolfgang Hutter died on September 26th. We’re just finding this out now, says artnet News, because he didn’t want the news to be publicized. Maybe he’d read articles like this one. (Also wow these are cool.)
According to the National Report, Graffiti artist Banksy has been arrested in London, revealing the artist’s allusive identity. He is 35-year-old Paul Horner. Several news sites subsequently reported that that story is bogus, and National Report is a site made up of entirely fake news. [Glasstire]
Andrew Jeffrey Wright’s latest “Bananazz” strip is pretty good. An enormous gap between this and what’s typically on Hyperallergic. [the artblog]
What a really weird interview with Gerhard Richter. Questions include: How does doing drugs affect artistic quality? When did organized religion crumble and why do humans need art as a replacement? Are you depressed that artists now—even you, whom many consider to be the greatest living painter—can’t paint like Titian? [The Wall Street Journal]

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← Previous Results

Karen archey

The Best of Us, For the Rest of Us: Karen Archey

Karen Archey at MAP Magazine: Performance and Pedagogy: All Talk, Some Action

Karen Archey at Art in America: The Full Yard: Changes at Hauser & Wirth

Karen Archey at Art in America: The Dog Days of Summer

Art Fag City at Map Magazine: Karen Archey Reviews The New Easy

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