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by Mario Naves
On "Materializing 'Six Years': Lucy R. Lippard & the Emergence of Conceptual Art," which opened at the Brooklyn Museum's Elizabeth R. Sackler Center for Feminist Art on September 14, 2012 and remains on view until February 3, 2013.
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This review doesn’t matter: the exhibition’s potential is confirmed by its existence rather than by its content. Conceptual art, after all, inherently bypasses criticism. Judging it is less interesting than following through on its ideas—ideas that reveal the invisible apron strings of the “real world’s” power structures. But don’t take my word for it. Take it from Lippard, the pioneering art historian whose words I have quoted, almost verbatim, in the preceding sentences.
Lippard was fundamental in establishing the free-for-all that is today’s mainstream art world—a milieu rife with woolly intellectualizing, political posturing, and (ahem) “aleatory strategies [that] de-center the authorial function and thus reevaluate the role of logical argumentation and hermeneutics as the guarantors of aesthetic function.” The exhibition takes its tit ...
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This article originally appeared in The New Criterion, Volume 31 November 2012, on page 50
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by Mario Naves
On "Ink Art: Past as Present in Contemporary China” at the Metropolitan Museum of Art, New York
by Karen Wilkin
On “Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937” at the Neue Galerie, New York.
The Walter Duranty Prize for Journalistic Mendacity
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