Podcast appearances and mentions of holland cotter

Kay WalkingStick is a citizen of the Cherokee Nation. She is a Cherokee/Anglo landscape painter has had over 30 solo shows in the US and Europe.  Her work is in the permanent collections of the Metropolitan Museum in NYC, the Museum of Canada in Ottawa, the Israel Museum in Jerusalem, The Newark Museum in Newark, NJ, the Whitney Museum of American Art, The National Museum of the American Indian, DC, The Smithsonian American Art Museum, DC, The Baltimore Museum of Art, Baltimore MD, and many other museums across the country.  Hales Gallery represents her work in NYC and Europe.   WalkingStick was a full professor at Cornell University for 17 years where she taught painting and drawing. She is now an Emerita Professor. She was given an honorary doctorate by both Pratt Institute and by Arcadia University. She is a fellow of the National Academy of Design and the American Academy of Arts & Science.   In 2015 her retrospective of 75 paintings and drawings covering the years from 1970 to 2015 opened at the Smithsonian, National Museum of the American Indian in Washington, D.C.  After closing the exhibition traveled to five venues across the country. The show was listed by Hyperallergic on-line Magazine as one of the best 15 exhibitions to open nationwide in 2016.  The NY Times gave the exhibit a full-page review written by Holland Cotter when it was shown at the Montclair Museum.   WalkingStick and her husband, artist Dirk Bach, live and paint in a townhouse in Easton, Pa.  WalkingStick had an exhibition of her recent landscape paintings at Hales Gallery in February and March 2022. Website: http://www.kaywalkingstick.com/ Hales Gallery https://halesgallery.com/artists/138-kay-walkingstick/overview/

n the 14th installment of the podcast's Virtual Café, we take as our prompt a Dec. review by NYTimes art critic Holland Cotter about politics in art: About 10 artists in the Virtual Café (including past guests Ianna Frisby of Art Advice and William Powhida) talk about art and politics, including successful examples of political art; the nimbleness of capitalism to absorb all things protest; the challenges and failures of artists to organize, particularly artist unions; the question of whether artwork being in a gallery is neutered, in terms of its political/social power; virtue signaling in art, particularly political art; Theaster Gates as a strong example of an artist changing a community, and of socially engaged art; the importance of the rhetoric around so-called political art (including the good side of the word ‘didactic'); the lack of transparency in galleries reporting where their donations to (political) causes are allocated; and how to take political art to the people, as opposed to through the gallery system.

Born in Boston, Massachusetts, in 1905, artist Loïs Mailou Jones's career spanned much of the 20th Century as both a painter and a teacher of generations of Black artists at Howard University. Jones faced racial discrimination in the US throughout much of her long life, and found refuge and inspiration in the Harlem Renaissance Movement and in the expatriate community of Black artists in Paris. Her 1953 marriage to Haitian artist Louis Vergniaud Pierre-Noel, and later research trips to Africa further influenced her work. Her many important paintings include The Ascent of Ethiopia (1932); Les Fétiches (1938); Self-Portrait (1940); Mob Victim (Meditation) (1944); Jardin du Luxembourg (1948); Jeune Fille Française (1951); Ode to Kinshasa (1972); Ubi Girl from Tai Region (1972); Suriname (1982); and Glyphs (1985). Joining me to help us learn more about Loïs Mailou Jones is writer Jennifer Higgie, author of the new book, The Mirror and the Palette: Rebellion, Revolution, and Resilience: Five Hundred Years of Women's Self Portraits. Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The episode image is Loïs Mailou Jones, 1937, from the Loïs Mailou Jones Pierre-Noël Trust. Other Selected Sources: “Lois Mailou Jones, 92, Painter and Teacher” by Holland Cotter, New York Times, June 13, 1998. “Lois Mailou Jones: An Indefatigable Black Woman Artist,” by Betty Perry, The Washington Post, February 23, 1983. “An Interview with Lois Mailou Jones,” by Charles H. Rowell, Callaloo, Vol. 12 No. 2, p. 357-378. “Loïs Mailou Jones: Creating A New African-American Image,” by Greg Cook, WBUR, February 27, 2013. “Interview with Lois Mailou Jones [video],” Good Morning America, February 1, 1996. “Loïs Mailou Jones and David C. Driskell: Intersecting Legacies [video],” The Phillips Collection, October 28, 2020. “Remembering The Masters: Lois Mailou Jones [video],” Sankofa Studios, March 16, 2020. Learn more about your ad choices. Visit megaphone.fm/adchoices

Art and music critic Harry Tafoya joins us this week to get to the bottom of it all- We take a look at a recent New York Times article by art critic Holland Cotter on the Titian show at the Isabella Stewart Gardner Museum to explore why museums and critics might feel the need to frame art from the past through a contemporary political lens, especially when it doesn't need to. Is it productive,  cynical, or just completely clueless?Is it possible to show reverence for art on social media? Can art save us in an increasingly atomized world? Have we forgotten how to FEEL and LOOK at art? Did we ever even know?Are museums still able to fulfill their role as places for understanding art?  What is the responsibility of the critic in all of this?-Harry on getting blocked by Jerry Saltz.-Alice Neel at the MET.-The ability to still appreciate troubling and difficult art. -Harry talks about me and my recent paintings- AM I THE HORSE??? -Alex Katz, the painter as "wife guy" and romantic obsession in painting.-How male painters are all THOTS,  and painting is their sexual release. PLUS: Harry tries to get me to start an OnlyFans, Ryan Trecartin and tik-tok influencers, Taylor Swift,  Joy Division, Lil' Nas X and gay rappers,  Sylvia Plath and so much more. SIDE NOTE: Throughout the episode we repeatedly make reference to Harry's Instagram  @gaykatemoss. Sadly, after the recording of this episode Harry's account got nuked, probably because he posts so much "artistic" nudity. You can now find Harry on Instagram at @harrytafoya and on Twitter at @gaykatemossLINKS: Holland Cotter on Titian at the Isabella Stewart Gardner Museum:  https://www.nytimes.com/2021/08/12/arts/design/titian-isabella-stewart-gardner-museum-review.html?referringSource=articleShareRyan Trecartin, Center Jenny (2013)ME:SAMSPANO.COMinstagram 

Dear Friends,Mr. Allen Barton, classical pianist, acting teacher extraordinaire, and Owner & CEO of the Beverly Hills Playhouse, joins Philip & D. Paul this week on Entering State Right.It's a spirited, wide-ranging discussion on “The Death of Art,” focusing on Black conductor's John McLaughlin Williams's issues with “equity” in music, and the recent criticisms of Titian's masterpieces by the art critic, Holland Cotter.As always, we look forward to your comments and appreciate your taking a moment to share our podcast with a friend or two. Thank You for Joining Us!Philip Charles MacKenzie & D. Paul Thomas This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit enteringstageright.substack.com

"Jesus is the great kintsugi master." "Something that's broken is already more valuable than when it's whole." "The imagination creates, through the fractures, a river of gold, a mountain of gold." Makoto Fujimura joins Miroslav Volf to discuss Art & Faith: A Theology of Making. Fujimura is a painter who practices the Japanese art of nihonga, or slow art. His abstract expressionist pieces are composed of fine minerals he grinds himself and paints onto several dozens of layers, which take time and close attention both to make and to appreciate.Mako and Miroslav discuss the theology and spirituality that inspires Mako's work, the creative act of God mirrored in the practice of art, the unique ways of seeing and being that artists offer the world, which is, in Mako's words "dangerously close to life and death." They reflect on the meaning of Christ's humanity and his wounds, the gratuity of God in both creation from nothing and the artistic response in the celebration of everything.Show NotesMakoto Fujimura's Art & Faith: A Theology of MakingIlluminated Bible by Makoto FujimuraMary, Martha, & LazarusGenesis Creation NarrativeArt follows in the footsteps of the creatorThe reasons for God's creationWhy would an all-sufficient God create anything?God as "a grand artist with no ego and no need to create."Communicating about art and theology outside the boundaries of the institutional churchReconciliation between art and faithGod's gratuitous creation doesn't need a utilitarian purposeCreating vs makingIn artistic creation, something new does seem to emerge"God is the only artist"The scandal of God's incarnation: In becoming incarnate, God's utter independence is flipped to utter dependence.Psalmist's cry to GodHow art breaks the ordinaryThe artist's way of seeing and beingSeeing as survivalSeeing with the eyes of your heart"Artists stay dangerously close to death and life"Getting beyond the rational way of seeingLetting the senses become part of our prayerWilliam James on conversion: everything becomes new for the convertedSeeing with a new frame of beautyFaith and the authenticity of seeing with the eyes of an artistEmily Dickenson on the "tender pioneer" of JesusHartmut Rosa on resonance—in modernity, the world becomes dead for us, and fails to speak with us, but we need a sense of resonanceKandinsky and Rothko—artists' intuitive sense of resonance that has escaped the church in the wake of mid-century destructionMary's wedding nard oil and the gratuitous cost of artThe non-utilitarian nature of artUsing precious materials in artTear jarsMiroslav's mother regularly weeping and crying: "I wonder why God gave us tears? Only humans are the animals who cry."Helmut Plessner's Laughing and Crying: Weeping as relinquishing self-possession and merging the self with the flesh (as opposed to reason/ratio or technique/techne)N.T. Wright—the greatest miracle is that Jesus chose to stay human.Jesus's remaining woundsCo-mingling our tears with Christ's tearsKintsugi and Japanese Slow ArtAccentuating the fracture"The imagination creates, through the fractures, a river of gold, a mountain of gold."This is the best example of new creation."What would happen to our scars? That's a question with no answer."Through his wounds, our wounds would look differentJesus is the great kintsugi master, leading a path of gold along the fractures of lifeThe permanence of scarsIs it possible to be in the good and be truly joyous?"God is not the source of beauty. God is beauty."Fundamental "new newness": So new that it evades understandingGoodness, truth, and beautyGod loved the world so much, it wasn't enough to merely admire it—he had to join it.What is a life worthy of our humanity?Fujimura's practice of art as an attempt to answer that question."Our lives as the artwork of God, especially as a collaborative community in the Body of Christ."About Makoto FujimuraMakoto Fujimura is a leading contemporary artist whose process driven, refractive “slow art” has been described by David Brooks of New York Times as “a small rebellion against the quickening of time”. Robert Kushner, in the mid 90's, written on Fujimura's art in Art in America this way: “The idea of forging a new kind of art, about hope, healing, redemption, refuge, while maintaining visual sophistication and intellectual integrity is a growing movement, one which finds Makoto Fujimura's work at the vanguard.”Fujimura's art has been featured widely in galleries and museums around the world, and is collected by notable collections including The Museum of Contemporary Art in Tokyo, The Huntington Library as well as Tikotin Museum in Israel. His art is represented by Artrue International in Asia and has been exhibited at various venues including Dillon Gallery, Waterfall Mansion, Morpeth Contemporary,  Sato Museum in Tokyo, Tokyo University of Fine Arts Museum, Bentley Gallery in Phoenix, Gallery Exit and Oxford House at Taikoo Place in Hong Kong, Vienna's Belvedere Museum, Shusaku Endo Museum in Nagasaki and Jundt Museum at Gonzaga University. He is one of the first artists to paint live on stage at New York City's legendary Carnegie Hall as part of an ongoing collaboration with composer and percussionist, Susie Ibarra.  Their collaborative album "Walking on Water" is released by Innova Records. As well as being a leading contemporary painter, Fujimura is also an arts advocate, writer, and speaker who is recognized worldwide as a cultural influencer. A Presidential appointee to the National Council on the Arts from 2003-2009, Fujimura served as an international advocate for the arts, speaking with decision makers and advising governmental policies on the arts. His book “Refractions” (NavPress) and “Culture Care” (IVPress) reflects many of his thesis on arts advocacy written during that time. His books have won numerous awards including the Aldersgate Prize for “Silence and Beauty” (IVPress). In 2014, the American Academy of Religion named Fujimura as its 2014 “Religion and the Arts” award recipient. This award is presented annually to professional artists who have made significant contributions to the relationship of art and religion, both for the academy and a broader public. Previous recipients of the award include Meredith Monk, Holland Cotter, Gary Snyder, Betye & Alison Saar and Bill Viola. Fujimura's highly anticipated book "Art+Faith: A Theology of Making" (Yale Press, with foreword by N.T. Wright, 2021) has been described by poet Christian Wiman as "a real tonic for our atomized time".Fujimura founded the International Arts Movement in 1992, now IAMCultureCare, which over sees Fujimura Institute. In 2011 the Fujimura Institute was established and launched the Four Qu4rtets, a collaboration between Fujimura, painter Bruce Herman, Duke theologian/pianist Jeremy Begbie, and Yale composer Christopher Theofanidis, based on T.S. Eliot's Four Quartets. The exhibition has travelled to Baylor, Duke, and Yale Universities, Cambridge University, Hiroshima City University and other institutions around the globe.Bucknell University honored him with the Outstanding Alumni Award in 2012.Fujimura is a recipient of four Doctor of Arts Honorary Degrees; from Belhaven University in 2011, Biola University in 2012, Cairn University in 2014 and Roanoke College, in February 2015. His Commencement addresses has received notable attention, being selected by NPR as one of the “Best Commencement Addresses Ever”. His recent 2019 Commencement Address at Judson University, was called “Kintsugi Generation”, laying out his cultural vision for the next generation.Production NotesThis podcast featured artist Makoto Fujimura and theologian Miroslav VolfEdited and Produced by Evan RosaHosted by Evan RosaProduction Assistance by Martin Chan & Nathan JowersA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give

Hello everyone! In this episode, we examine the institutional racism present in larger and older museum institutions (Minneapolis Institute of Art, Chicago Art Museum, and Philadelphia Museum of Art, and the Cleveland Art Museum, for example). Have the Diversity and Inclusion initiatives by museums succeeded? Sarah outlines three points of contention which Museums might use to examine their internal systemic racism, and how they might combat it successfully. Step 1 - Museums should examine (publicly) where their funding originated, how that shaped the physical collection. Step 2 - examine the museum's staff racial diversity. Step 3 - What percentage of the overall collection has been created by artists of color, and how are those works presented? Links: Mia Receives Funding for Empathy and Diversity Initiatives Philadelphia's legacy art museums work to attract a woke generation with frank talk and better amenities Diversity, Equity and Inclusion Plan - the Cleveland Museum of Art These Chicago Museums Are Being Paid To Diversify Their Board Some of the Benin works are being returned! - British Museum to return Benin bronzes to Nigeria DePaul Art Museum focuses on diversity, inclusion This is the piece by Holland Cotter mentioned - Museums Are Finally Taking a Stand. But Can They Find Their Footing? This Art Was Looted 123 Years Ago. Will It Ever Be Returned? And then there's this - Why western museums should keep their treasures British Museum is world's largest receiver of stolen goods, says QC --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/sota/message Support this podcast: https://anchor.fm/sota/support

We discussed: Contemporary art criticism, The importance of the work of Charles Watkins, Distance learning using podcasts, The desire for the Modern Art Notes podcast being an archive of the art history of our time, The art of a great interview, Artist respond to knowledge of their ouvre, The ever revising nature of art history, NPR sound quality being the gold standard, The difficulties of on location recording (sound quality), Sheila Hicks, David Maisel, Ann Temkin https://tylergreenbooks.com/ https://manpodcast.com/ About: Tyler Green is an award-winning historian and critic who has produced and hosted The Modern Art Notes Podcast since 2011. Green is also the author of  “Carleton Watkins: Making the West American,” which won a 2019 California Book Award gold medal. See Tyler's author page. The U.S. chapter of the International Association of Art Critics (AICA-USA) awarded Green one of its two inaugural awards for art criticism for his website Modern Art Notes in 2014. The award included a citation for The MAN Podcast. (The other inaugural award was given to New York Times critic Holland Cotter.) Between 2001 and 2014, MAN featured original reporting, art criticism, and analysis. Newspapers such as the New York Times, the Los Angeles Times and the Wall Street Journal all credited MAN with breaking stories that they later covered. The Wall Street Journal called Modern Art Notes “the most influential of all visual arts blogs,” and said, “You won't find a better-informed art writer than Tyler Green.” Green has written for numerous print and digital magazines, including New York Times Lens, Fortune, Conde Nast Portfolio and Smithsonian. He has contributed op-eds to newspapers such as the Los Angeles Times, the Boston Globe, the Philadelphia Inquirer and the Wall Street Journal. His commentary has also aired on National Public Radio's “All Things Considered.” From 2010-2014 he was the columnist for Modern Painters magazine. Books featuring Green's work include “San Francisco Museum of Modern Art 360: Views on the Collection,” a forthcoming, Radius-published David Maisel monograph, and a forthcoming Anne Appleby exhibition catalogue. Please be sure to visit our Patreon page and help support the podcast by being part of the conversation. The more money raised, the larger the global reach we can offer you: https://www.patreon.com/thewisefool For more information about the host, Matthew Dols http://www.matthewdols.com

We discussed: Contemporary art criticism, The importance of the work of Charles Watkins, Distance learning using podcasts, The desire for the Modern Art Notes podcast being an archive of the art history of our time, The art of a great interview, Artist respond to knowledge of their ouvre, The ever revising nature of art history, NPR sound quality being the gold standard, The difficulties of on location recording (sound quality), Sheila Hicks, David Maisel, Ann Temkin https://tylergreenbooks.com/ https://manpodcast.com/ About: Tyler Green is an award-winning historian and critic who has produced and hosted The Modern Art Notes Podcast since 2011. Green is also the author of  “Carleton Watkins: Making the West American,” which won a 2019 California Book Award gold medal. See Tyler's author page. The U.S. chapter of the International Association of Art Critics (AICA-USA) awarded Green one of its two inaugural awards for art criticism for his website Modern Art Notes in 2014. The award included a citation for The MAN Podcast. (The other inaugural award was given to New York Times critic Holland Cotter.) Between 2001 and 2014, MAN featured original reporting, art criticism, and analysis. Newspapers such as the New York Times, the Los Angeles Times and the Wall Street Journal all credited MAN with breaking stories that they later covered. The Wall Street Journal called Modern Art Notes “the most influential of all visual arts blogs,” and said, “You won't find a better-informed art writer than Tyler Green.” Green has written for numerous print and digital magazines, including New York Times Lens, Fortune, Conde Nast Portfolio and Smithsonian. He has contributed op-eds to newspapers such as the Los Angeles Times, the Boston Globe, the Philadelphia Inquirer and the Wall Street Journal. His commentary has also aired on National Public Radio's “All Things Considered.” From 2010-2014 he was the columnist for Modern Painters magazine. Books featuring Green's work include “San Francisco Museum of Modern Art 360: Views on the Collection,” a forthcoming, Radius-published David Maisel monograph, and a forthcoming Anne Appleby exhibition catalogue. Please be sure to visit our Patreon page and help support the podcast by being part of the conversation. The more money raised, the larger the global reach we can offer you: https://www.patreon.com/thewisefool For more information about the host, Matthew Dols http://www.matthewdols.com

Back in January, William Powhida and I recorded an episode of Explain Me on the Metropolitan Museum of Art's new admission policy. Earlier that month, the museum known for housing some of the world's greatest treasures announced its admission price would no longer remain "pay-as-you-wish". As of March 1st, their suggested admission, $25 will become mandatory for anyone living outside of New York State. Children under 12 get in for free. Given that there's less than two weeks until this policy change goes into affect, we thought it might be a good time to release our discussion and revisit the debate. Because what came out of the debate, was not a picture of an institution starving for more funds, but wealthy museum with a board and President ideologically opposed to the free admission policy. Learning this changed my position, which was one initially in support of a change the museum described as an absolute necessity, to boycotting the museum for the month of March. While the admission increase doesn't affect my cost of admission, it affects that of my family and friends from out of town. It is also entirely out of step with generosity of creative spirit that brought me to this city in the first place. Over the course of the podcast, William and I discuss a large number of articles and the conclusions drawn by the authors. We go through the points rather quickly, so for those who want them at your finger tips, I've included them below. Data People These are thoughts by people we describe as "data driven". Grey Matter's Tim Schneider. Cites studies that claim cost is a secondary factor to why people visit museums. People cite lack of time and lack of transportation as major factors. Adds the caveat that structural discrimination may account for some of these factors. Colleen Dilen Schneider. The original blogger who sourced studies that claim cost is a secondary factor to why people visit museums. Expect a treasure trove of studies, over use of bolding and zero caveating. Read at your own risk. Blogs Hrag Vartanian interviews Met president Daniel Weiss for Hyperallergic. There's a lot in here, but we discuss the following points: Vartanian notes the museum's well-known $40 million deficit in the intro. Weiss says asking David Koch to pay for the Met's admissions would be inappropriate morally because the wealthy already support 75% of their budget and their current admissions is "failing". Claims a dramatic increase in visitors. Says there has been 71 percent decline in what visitors pay. Says the museum has close to a billion in endowments reserved for operations. Felix Salmon at Cause and Effect. Looks at the Met's annual reports and finds that Weiss overstates the Met's visitor numbers (which increased by 11.5 % thanks to the Met Breuer opening), and misleads the public about admissions revenue, which has actually increased by 13 %. Concludes that admissions isn't the reason the museum has the deficit. Also, notes that the Met's endowment has risen $170 million a year through investments, of which, over $100 million a year can be used for anything they want. Concludes that the Met won't suffer by making $10 million a year less because they are maintaining their "pay-as-you-wish" policy. Petitions The Met Should Remain Free For All.  Main Stream Media Jillian Steinhauer for CNN The Met Needs to Live Up To Its History and Its Public Robin Pogrebin for The New York Times reports that Weiss cites the city's plans to reduce the Met's funding as one rationale for the change. Holland Cotter at New York Times. New York residents would have to prove their residency by "carding" procedures, which he doesn't like because "it potentially discriminates against  a population of residents who either don’t have legal identification or are reluctant to show the identification they have." Roberta Smith at The New York Times. Rebukes the position that because other museums charge they should too, saying  "Actually it should be just the opposite. Pay as you wish is a principle that should be upheld and defended, a point of great pride. The city should be equally proud of it. No one else has this, although they should. It indicates a kind of attitude, like having the Statue of Liberty in our harbor. It is, symbolically speaking, a beacon."

This week, Holland Cotter discusses four new books and the contemporary art scene; Alexandra Alter has notes from the publishing world; Jonathon Keats talks about art theft and forgeries; questions from readers; and Gregory Cowles has best-seller news. Pamela Paul is the host.

In New York City, New York Times chief art critic Holland Cotter and Asia Society President Emerita Vishakha Desai reflect on the last two decades of contemporary Asian art and consider potential next directions. Asia Society Museum's Melissa Chiu moderates the conversation. (1 hr., 2 min.)

Join us for an evening with Holland Cotter-a 2009 recipient of the Pulitzer Prize and the chief art critic of the New York Times-as he speaks with Vishakha Desai, President and CEO of Asia Society, and Jay Xu, Director of the Asian Art Museum, about his enthusiasm for and experience in developing critical writing about Asian contemporary art. In the 1990s, Cotter introduced readers to a broad range of Asian contemporary art as the first wave of new art from China was building and breaking; he also brought awareness of contemporary art from India to the attention of a Western audience. He continues to write widely on non-Western art and culture. Against the backdrop of the Asian Art Museum's major exhibition of contemporary art, Phantoms of Asia, the conversation represents the potential to stimulate and catalyze critical dialogue on Asian contemporary art in the Bay Area. It will also acknowledge Ellen Tani as the recipient of the inaugural Asian Contemporary Arts Consortium (ACAC) Writing Fellowship. The fellowship, which aims to promote and encourage critical thinking and writing on contemporary Asian art practices, provides the fellow with a forum on the online arts journal Art Practical to produce research and writing while creating a unique opportunity for emerging writers. Hosted by Asian Contemporary Arts Consortium-SF and Art Practical in collaboration with the Asian Art Museum

oin us for an evening with Holland Cotter-a 2009 recipient of the Pulitzer Prize and the chief art critic of the New York Times-as he speaks with Vishakha Desai, President and CEO of Asia Society, and Jay Xu, Director of the Asian Art Museum, about his enthusiasm for and experience in developing critical writing about Asian contemporary art. In the 1990s, Cotter introduced readers to a broad range of Asian contemporary art as the first wave of new art from China was building and breaking; he also brought awareness of contemporary art from India to the attention of a Western audience. He continues to write widely on non-Western art and culture. Against the backdrop of the Asian Art Museum's major exhibition of contemporary art, Phantoms of Asia, the conversation represents the potential to stimulate and catalyze critical dialogue on Asian contemporary art in the Bay Area. It will also acknowledge Ellen Tani as the recipient of the inaugural Asian Contemporary Arts Consortium (ACAC) Writing Fellowship. The fellowship, which aims to promote and encourage critical thinking and writing on contemporary Asian art practices, provides the fellow with a forum on the online arts journal Art Practical to produce research and writing while creating a unique opportunity for emerging writers. Hosted by Asian Contemporary Arts Consortium-SF and Art Practical in collaboration with the Asian Art Museum

This week: A PULITZER PRIZE WINNER! Holy crap. San Francisco once again brings it with an amazing guest, Holland Cotter. Holland Cotter has been a staff art critic at The New York Times since 1998. In 2009, he won the Pulitzer Prize for Criticism, for coverage that included articles on art in China. Between 1992 and 1997 he was a regular freelance writer for the paper. During the 1980s he was a contributing editor at Art in America and an editorial associate at Art News. In the 1970s, he co-edited New York Arts Journal, a tabloid-format quarterly magazine publishing fiction, poetry, and criticism. Art in New York City has been his regular weekly beat, which he has taken to include all five boroughs and most of the city's art and culture museums. His subjects range from Italian Renaissance painting to street-based communal work by artist collectives. For the Times, he has written widely about "non-western" art and culture. In the 1990s, he introduced readers to a broad range of Asian contemporary art as the first wave of new art from China was building and breaking. He helped bring contemporary art from India to the attention of a western audience. Born in Connecticut in 1947, and raised in Boston, Cotter received an A.B. from Harvard College, where he studied poetry with Robert Lowell and was an editor of the Harvard Advocate. He later received an M.A. from the City University of New York in American modernism, and an M. Phil in early Indian Buddhist art from Columbia University, where he studied Sanskrit and taught Indian and Islamic art. He has served on the board of directors of the International Association of Art Critics. He is under contract with Alfred A. Knopf for a book on New York City modernism. He is also working on a study of contemporary Indian art, and on a poetry manuscript.