Michael J. Kramer
Recent comments by Michael J. Kramer
- Comment on Gerhard Richter: More Than You Think He Is (December 12, 2016)
- Comment on Future of Museum: Surviving the Age of Money (December 12, 2016)
- Comment on Curating Cultural Criticism on Facebook (December 12, 2016)
- Comment on Hamilton: Who Lives Who Dies Who Tells Your Story (December 12, 2016)
- Comment on Telling a Story Through Abstract Expressionism (December 12, 2016)
- Comment on “To Listen to change–listen in order to change–listen for change:” (December 12, 2016)
- Comment on What Happened to J. Hoberman? (December 12, 2016)
- Comment on Animals in the Age of Their Technological Reproducibility (December 12, 2016)
- Comment on Protected: A Return to Duchamp: Reflecting on What it Means to Complete the Work (December 12, 2016)
- Comment on The Impossible Dream of the Google Art Project (December 12, 2016)
- Comment on Ordinary People and the Contemporary Museum: The Sculptures of Duane Hanson (December 12, 2016)
- Comment on What belongs in a museum? (December 12, 2016)
- Comment on What belongs in a museum? (December 12, 2016)
- Comment on The Politicization of Music in the Face of Bush-era Crypto Fascism (December 12, 2016)
- Comment on Defining Contemporary: From History to Future (November 22, 2016)
- Comment on Protected: The Contemporary in Rebellion: Or Thoughts on the Election (November 22, 2016)
- Comment on Contextualizing Contemporary (November 22, 2016)
- Comment on Where Art is Now. (November 22, 2016)
- Comment on The Contemporary as “The Present in Drag” (November 21, 2016)
- Comment on Musings on the Contemporary from the Heart of the Past (November 21, 2016)
- Comment on History’s tomorrow (November 20, 2016)
- Comment on No Contemporary Art, Only Contemporary Interpretation (November 20, 2016)
- Comment on A Personal Contemporary (November 20, 2016)
- Comment on Common and the Contemporary (November 20, 2016)
- Comment on The Contemporary: Technology of the Grand and Mundane (November 20, 2016)
- Comment on Can we define the contemporary? (November 20, 2016)
- Comment on How to Praise “Moonlight” (November 7, 2016)
- Comment on A Critic’s Role in the Golden Age (November 7, 2016)
- Comment on How it Feels (November 6, 2016)
- Comment on The Urban Aesthetic: Urban Art Exploitation (November 6, 2016)
- Comment on Information’s Narrative (November 6, 2016)
- Comment on The Critic’s Dilemma: Description and Interpretation (November 6, 2016)
- Comment on Evaluating Barry Jenkins’s Breakout (November 6, 2016)
- Comment on Evaluating Barry Jenkins’s Breakout (November 6, 2016)
- Comment on The Intersection of Sexuality and Race and the Search for its Place on Screen (November 6, 2016)
- Comment on Protected: Are the Suburbs Really Evil? (November 6, 2016)
- Comment on You Can Put Marx Back into the Nineteenth Century, but You Cannot Keep Him There: On Our Relationship with Works of the Past (November 6, 2016)
- Comment on Black & White: from Moonlight to Martin (November 6, 2016)
- Comment on The Royal We (November 5, 2016)
- Comment on Familiar Infidelity, Translated Into a Less Familiar “Black Mirror” World (November 3, 2016)
- Comment on The Prints of Eric Avery and the Meditation of the Overwhelming (November 3, 2016)
- Comment on Condom Man v. The AIDS Crisis (November 3, 2016)
- Comment on The Two Times When Tseng Kwong Chi was Not in the Mao Suit: A Re-examination of Labeling Through Appearance (November 3, 2016)
- Comment on Too Many Spider-Men (November 2, 2016)
- Comment on NSFW: Not Safe For Women (November 2, 2016)
- Comment on Protected: Tseng Kwong Chi’s Moral Majority is a reminder that politics can be fun (November 2, 2016)
- Comment on The New Sensibility of the 80’s (November 2, 2016)
- Comment on Mourning in Small Spaces (November 2, 2016)
- Comment on Exploring a Subject in Lens: Alex Walker and Thomas Ruff (November 2, 2016)
- Comment on Art, Science, Milky Way: Crossing Disciplinary Borders with Andrew Yang and Camille Henrot (November 2, 2016)
- Comment on Endless Geometry (November 2, 2016)
- Comment on A Public Intimacy: Exploring Communal Mourning in the AIDS Crisis (October 24, 2016)
- Comment on Meeting Modern Iran in a Movie Poster (October 24, 2016)
- Comment on Tseng Kwong Chi and the Attempted Politicization of a Landscape (October 24, 2016)
- Comment on Revolution and Cinema in Iran (October 24, 2016)
- Comment on Attempting to Create Art in a Vacuum (October 24, 2016)
- Comment on Spectrum of the Real (October 24, 2016)
- Comment on Protected: Making Sense of Mortality in Keep the Shadow, Ere the Substance Fade (October 24, 2016)
- Comment on A Fragile “Party of Life” (October 24, 2016)
- Comment on Keep the shadow, Ere the Substance Fade: On the Keeping and Making of Relics (October 24, 2016)
- Comment on Tseng Kwong Chi: A Name That Should Be Known (October 24, 2016)
- Comment on Blue is for Jeans (October 23, 2016)
- Comment on Tseng Kwong Chi: Exposing the Power of Perception (October 22, 2016)
- Comment on The Puzzle of Nicolas Jaar’s “Nymphs,” Piece by Piece (October 14, 2016)
- Comment on Vétheuil v. Vétheuil (October 14, 2016)
- Comment on No Loitering: Jaar’s Radical Approach to the Museum Photograph & Film (October 14, 2016)
- Comment on Deliverance-Thrilling and Prejudiced (October 14, 2016)
- Comment on Protected: Grosse Fatigue: A Meditation on the Maddening World of Museums (October 14, 2016)
- Comment on A New Look at Old Ideas (October 14, 2016)
- Comment on Ghost Producers in Electronic Dance Music: Have We Been Lied To? (October 14, 2016)
- Comment on Exploring Women in a Chelsea Gallery (October 14, 2016)
- Comment on The Downward Spiral: Untangling Danny Brown’s Depraved Masterpiece (October 14, 2016)
- Comment on Between Humans and the Universe: All We Have are the Connections We Make (October 13, 2016)
- Comment on Light on Display in Rick Guest’s New Series “Americana” (October 13, 2016)
- Comment on Ambiguous Ambassadors (October 13, 2016)
- Comment on Where O America are you: Exploring Francesca Anderegg’s “Wild Cities” (October 13, 2016)
- Comment on The Exquisite Pain of Moving On (October 13, 2016)
- Comment on The Weight Of Criticism (October 3, 2016)
- Comment on The Weight Of Criticism (October 3, 2016)
- Comment on The Weight Of Criticism (October 3, 2016)
- Comment on High Culture, and Other Completely Arbitrary Things Rich People Have Claimed (October 3, 2016)
- Comment on The Critics: Are They to Teach and Judge? (October 3, 2016)
- Comment on (October 3, 2016)
- Comment on (October 3, 2016)
- Comment on No Time to Care: Cultural Criticism’s Corporate Millennium (October 3, 2016)
- Comment on Critical to the Last Drop (October 3, 2016)
- Comment on Culture in the Hands of the Critic (October 3, 2016)
- Comment on The Critics: With the Power of Words (October 3, 2016)
- Comment on Criticism in the Amazon Age (October 3, 2016)
- Comment on Where a Critic Self-Aligns (October 3, 2016)
- Comment on The Role of a Critic (October 2, 2016)
- Comment on Do Critics Need Stanchions Too? (October 2, 2016)
- Comment on Protected: What Live Sports Can Teach Us About Criticism (October 2, 2016)
- Comment on Tales from the Soapbox (October 2, 2016)
- Comment on Everyone’s a Critic: Welcome to Situation Critical (September 19, 2016)
