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Ironic that in the case of Warhol Foundation v. Goldsmith an otherwise astute member of the court’s liberal minority, Justice Elena Kagan, should offer a surprising arrogant and patronizing dissent that pretends to art-historical savvy while merely parroting postmodern “theory” and art-market rationales. […]
The only disappointment on the otherwise momentous and joyous occasion of Donald Trump’s first-ever indictment on criminal charges? NYC D.A. Alvin Bragg decided, presumably for strategic reasons, to forego not just public documentation of the arrest and processing but also the production and distribution of the standard mug shot of the accused. […]
For the first time in over half a century I have (a) my very own resident groundhog but (b) no designated local season prognosticator of the woodchuck persuasion. Hence a dilemma I faced this past February: Who to believe about the advent of spring? […]
The virtual Zoom interview with me that got rescheduled for 7 p.m. this evening, Monday, May 8, has been cancelled once again — this time because the interviewer, Douglas I. Sheer, president of the critically acclaimed series Artists Talk On Art (ATOA), came down with COVID. ATOA’s season has come to an end, so we will reschedule the session for sometime next fall. […]
On the evening of Monday, May 8, Douglas I. Sheer, president of the critically acclaimed series Artists Talk On Art, will conduct a virtual interview with me, hosted via Zoom. I invite all readers of this blog to join me for this event, which is free and open to the public. Pre-registration is required, via the link below; then just log in on Monday, shortly before 7 p.m. EST. […]
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SPJ Research Award 2014
Thought for the Day Ignorance is a condition; dumbness is a commitment.
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Springing Forward: Bits & Pieces
Ironic that in the case of Warhol Foundation v. Goldsmith an otherwise astute member of the court’s liberal minority, Justice Elena Kagan, should offer a surprising arrogant and patronizing dissent that pretends to art-historical savvy while merely parroting postmodern “theory” and art-market rationales. […]