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Duane Michals: National Arts Club (2000)

[This is the fourth in a series of decade-by-decade posts of material from my archives. For the third, click here.

By 2000 I had left the New York Observer, relinquishing — though not without a fight — the column I had run there from 1988-97 when they demanded ownership of copyright to my articles. The […]

John Szarkowski: “Photography Until Now” at MoMA (1990)

What we’re offered instead is merely a set of pictures John Szarkowski likes — a comparative bagatelle … Such a misuse of power, prestige and influence is an effective if lamentable indication of why the Modern’s credibility and influence on the medium have waned so dramatically during the last decade of his tenure. […]

Choice of Audience/Choice of Voice, 2 (1980)

The crucial question is, To whom is my work addressed? To put it another way, who do you think you’re talking to? By this I mean quite specifically what audience do you as a critic desire and direct your work towards conceptually? […]

Choice of Audience/Choice of Voice, 1 (1980)

The four key elements of the critical equation are (1) the work, (2) the critic, (3) the vehicle or forum, and (4) the audience. Each of these represents a wide range of options; furthermore, each individual case is in a state of continual change. […]

Bruce Davidson: East 100th Street (1970)

It is little short of scandalous that the Museum of Modern Art has never given a one-man show to a non-white photographer, for there are many at least as talented as some of those photographers the museum has chosen to show over the years. […]