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A Return to Ar T Criticism Best Of: Vol. 1 2014-2015

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A Return to Ar T Criticism Best Of: Vol. 1 2014-2015 A RETURN TO ART CRITICISM A RETURN TO ART BEST OF: VOL. 1 2014-2015 Foreword ince October 2014, Momus has quickly become a trusted reference Sfor those wishing to reflect on contemporary art at a slightly slower pace, and with greater focus, than our online platform typically allows. We’ve published features, interviews, and reviews that have been widely read and shared, and cited by peer publications including artnet News, Hyperallergic, LA Times, Daily Serving, and Art F City. We’ve benefited from the support of esteemed arts patrons including Bruce Bailey and Ydessa Hendeles; and notes of endorsement from artists and writers including Frances Stark, Chris Kraus, Douglas Coupland, and the editor of Tate Etc., Simon Grant. The publication’s initial partnerships include a content-sharing relationship with artnet News, and a main media-partnership with Feature Art Fair. Further, Momus has recently engaged in a relationship with Tate Etc. We’ve initiated a curated Artworld Events Calendar representing our global artworld centers. It’s been a good start to something of already lasting value. In an effort to survey our achievements, here are twenty of our best- read and most valued articles to date. From Andrew Berardini’s well- loved “How To” series to a frank, slightly bawdy conversation between Sheila Heti and John Currin, criticism – in all its potential and pliability – has been upheld and regularly challenged on Momus’s pages. We demonstrate our appreciation of our writers by paying above-industry- average rates, something we intend to increase in the coming year. Patronage has been crucial to this publication’s early success and ability to support its contributors. As we approach our first anniversary, and look to further increase our content and raise our rates, we’re encouraging engaged individuals who share our vision for renewed reflection in evaluative criticism to offer a measure of support. It goes directly to our writers and design team and its value is reflected on the site. Visit our “Donate” page for more information on our patrons and how to contribute. See below for some of our best-read and most talked-about articles to date. It’s a slim collection of what we hope to be a library to come. – Sky Goodden, editor Contents HOW TO WRITE ABOUT CONTEMPORARY ART .................................................................................5 by Andrew Berardini IT’S NOT STEALING IF IT’S ART: A RE-PRIMER ON IMAGE APPROPRIATION FOR THE INTERNET GENERATION ....................................................................................................8 by RM Vaughan POST-CRISIS: WHAT’S NEXT FOR ART CRITICISM IN A DIGITAL AGE ..........................................11 by Sky Goodden SHEILA HETI INTERVIEWS JOHN CURRIN ON THE FUN, BEAUTIFUL THINGS ...........................13 by Sheila Heti INTERVIEW: TACITA DEAN .................................................................................................................18 by Sky Goodden WHAT IS AN ART CRITIC DOING AT AN ART FAIR? .........................................................................21 by Orit Gat PAUL P. ON TWO WORKS BY STEPHEN ANDREWS .......................................................................23 by Paul P. TO CUT AND TO SWIPE: UNDERSTANDING HITO STEYERL THROUGH “HOW NOT TO BE SEEN” ...................................................................................................................25 by Kaegan Sparks THE SUFFERING BODY OF 1993: WHATEVER HAPPENED TO THE “ABJECT” (PART I) ..............28 by Joseph Henry SEEING RED: UNDERSTANDING KAZUO SHIRAGA’S SUDDEN FAME ..........................................31 by Carol Strickland HOW TO START AN ART SCHOOL .....................................................................................................34 by Andrew Berardini KILL THE EXPERT: AN INTERVIEW WITH BRIAN DROITCOUR ......................................................36 by Joseph Henry A THEORY OF EVERYTHING: ON THE STATE OF THEORY AND CRITICISM (PART ONE) ...........39 by Saelan Twerdy WOMEN AND INFLUENCE AND THE OTHER THINGS HE GOT WRONG: A REBUTTAL TO BRAD PHILLIPS ......................................................................................................42 by Sky Goodden A REBUKE TO THE PERCEIVED “CRISIS IN CRITICISM”: SOCIAL MEDIA AND THE LIBERATED READER ..................................................................................................................44 by Earl Miller HOW TO SURVIVE INTERNATIONAL ART: NOTES FROM THE POVERTY JETSET .......................47 by Andrew Berardini THE COMMONS OF AGGREGATION: THE CASE FOR NET ART AS PUBLIC ART .........................49 by Joseph Henry THIS IS WHERE IT ENDS: THE DENOUEMENT OF POST-INTERNET ART IN JON RAFMAN’S DEEP WEB ...............................................................................................................52 by Saelan Twerdy LABOR LOST: OKWUI ENWEZOR’S ARTWORLD BIENNALE ...........................................................55 by David Balzer BODIES BEHOLDEN: THE CHANGED CORPOREALITY OF DAVID SALLE’S NEW PAINTINGS .................................................................................................................................58 by Becca Rothfeld HOW TO WRITE ABOUT CONTEMPORARY ART by Andrew Berardini Kathleen Gije, “Rosalind Krauss in the Manner of Degas,” 2006. irst, don’t. make witticisms half-drunk on cheap wine to potential acquaintances F at commercial galleries, even if those cold crystal palaces spook you Don’t intend to write about art at all. Write about something else. Go with their imposing facades and flinty receptionists. Pore over every harrowingly into debt for an MFA in creative writing from a school magazine, studying every article and memorizing the names in each with classes on polysexual prose and delirium. Write short, surreal po- ad. Longingly finger through all the books at the local museum shop. ems about hurried sex with strangers or a long, unreadable novel about Be relentless in your self-education. Even though you are paid nothing genocide in Africa. for this, somehow mark these hours in your head as ‘work’. You are a detective, a pure researcher, an alchemist digging through potential Apply for jobs to be an editor of a TV trade newspaper or a copyeditor fakery and arcane code to find the secret gold. Your curiosity whenever for a legal handbook. When you go into the interview in their air-con- unmet eats through you like acid and you get drunk on all the knowl- ditioned mausoleum an hour from your house, your footsteps shuffle edge. soundlessly across the dense, neutered green carpet. The recruiter seems to really like you. You come off as bright and dynamic. Confi- Have a child. dently walking out, you hear only the funereal buzz of the ventilation and the dry turn of a single page as you pass dozens of sub-editors en- Meet and even hang around real artists. When they ask what you do, sconced in dense cubicles correcting proofs. When they don’t hire you, breathe deep. You’ve published in school newspapers. You’ve made a try to understand it as a compliment. zine. You’ve written short, surreal poems and a long unreadable novel. They don’t know this. You don’t feel much like a writer. Fake it til you Bednest in depression for longer than is appropriate. Count the motes make it. Act supremely nonchalant when you say, “I’m a writer.” With of dust that pass through a shaft of light in your bedroom. Watch back- each utterance, you’ll feel like you’re electing yourself president, the to-back trilogies. Weep. self-appointed emperor of an undiscovered country. Or something better. You really like art, but you have zilch in formal training. Go to every art opening in the city. Sneak into the premiers of grand museum One of your neighbors hands your contact to an editor in London retrospectives, awkwardly hang around the beer bucket at shows for working for the website of a magazine in New York. The global-glamor art-school drop outs pinning collages to the walls of coffeeshops, gives you a little shiver. She offers you a gig covering a party at a bou- Page 5 tique hotel on the Sunset Strip for their social diary. You sort of hate boards and the websites for graduate-school programs you are wholly these nouns: boutique hotel, social diary, Sunset Strip. It pays roughly unqualified to attend: botany, zoology, astrophysics. Having passed the the same as three shifts at your coffeeshop. You have two dollars and FSE, fly to meet working diplomats for the final day-long interview. You twenty-seven cents. Burble with enthusiasm. are asked what to do if you are offered rotten meat by a local official (eat and puke later), if you see an American ship bombed in the harbor Go. Frightened, hurtle through. Breathlessly, sleeplessly, write it up. on the weekend when the rest of the office is on holiday (immediately Turn it in. The editor lovingly walks you through it: measuring the contact a superior, somewhere), and how would you defend giving mil- rhythm of every line, sharpening each joke, drawing out subtle de- itary aid to a country with a terrible human rights record and a history tails half-remembered and sometimes nearly illegibly scribbled into a of armed conflict with its neighbors (whatever your answer is, it won’t brand-new leather pocket notebook splurging-ly purchased upon your be very good). ascendancy to professional writer. The magazine accepts your last-ditch essay. When you receive it in The piece is published. The subjects groan with complaint. Readers the
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