Contemporary commonsense says that the preservation of art — as art — is not a life and death situation, but consider the case of Andrew Cunanan.

The task of the art critic (or any intellectual) is to prove that art still matters, that art still has a right to exist — even when she knows it might not, hence the importance of ambivalence as a critical tool.

We wanted to take contemporary art seriously, but so few artworks took themselves seriously.

With the unforeseen rise of the proletariat upon the empty stage of world-history, with the supreme and final flourishing of free and propertyless labor, the age of social revolution — total cosmic transformation — begins.

Eisenman’s contribution asserts that for aesthetic experience, liking and knowing are often indistinguishable, even though the museum, as a bourgeois pedagogical invention, upholds an aura of implicit hierarchy between the two.

We may want opera, but are we capable of loving enough for it?

At Caesura, we are still making sense of who our audience is and who it can be.

Modernist art for Trotsky could not be considered a new culture but rather an expression of the task and demand for transcending bourgeois society and culture.

Like those born at the turn of this century, untitled-game is overwrought with anxiety about its own emptiness. This reflects the fear of one’s own emptiness. Are we up to the tasks of our own century?

We have been a society in despair for quite some time. And without meaningful social existence, without the political possibility of imagining a better world, what possibilities are there for art?

In pursuit of some kind of deliverance, the avant-garde had undertaken to record the endless parade of human suffering as it appeared in both the costume of a present ‘now’ and in the torn, worn-out rags of an unresolved past.

Two girls set out to live life. They adapt themselves to different roles within girlhood, but never attain to a fullness of any role.

The past doesn’t disappear into the present but thunders into oblivion along with it. The present is meant by the past, even if it’s not the future that the past had in mind.

To be ‘cultured’ is also to dam up culture and become constipated.

The culture industry is running on a marathon of apologies. Miss Americana, the Taylor Swift biopic on Netflix, is a prime example of pop-culture apologia bound up in a coming-of-age tale.

The girl fulfills an ideal, which presents a potential of connecting/relating myself to that ideal. The painting represents the ideal of naivete I seek to develop in and through art criticism.

The closure of public life provides a moment to reflect upon its usual reproduction, a question the club culture has not felt tasked to answer.

The National Cowboy Museum’s Twitter feed in the hands of Director of Security Tim Tiller is the kind of voice we crave during the COVID-19 lockdown. Tim’s sincere charm cuts through the digital cacophony and has earned the Museum three hundred thousand plus Twitter followers and global platform. But more importantly, it’s the voice we’ve needed from art museums for a long time.

Postmodernism can be characterized as a reaction to the negativity of modern art; it sees the violent separation of art and life and would like nothing more than to mend the wound that forced them apart.

Utility fosters distrust in those who wish to use the aesthetic for their own purposes.