Winter 2008, Vol. 67, No. 4

In This Issue

Judith F. Rodenbeck, Notes on Parrhesia, 5

Forum: I’ll Be Your Mirror, or Why and How Do We Work on Living Artists

Winter 2008

Suzanne Hudson, Why and How Do We Work on Living Artists, 8

Agnes Berecz, Painting Lesson: Hantaï and His Critics, 12

Huey Copeland, Outtakes, 20

Phyllis Tuchman, Two or Three Things I Know about Artist Interviews, 33

Richard Meyer, “Artists sometimes have feelings”, 38

Johanna BurtonResponse: Proximal but Divided, 56

Anne Byrd, Conclusion: How and Why Do We Write about Living Artists?, 60


J. Malcolm Shick, Toward an Aesthetic Marine Biology, 62

Julia Morrisroe and Craig Roland, A Collaborative Approach to Preparing MFA Art Students to Teach at the University Level, 87

Harrell Fletcher, Sandy Sampson, Eric Steen, Amy Steel, Cyrus Smith, Avalon Kalin, Laurel Kurtz, Katy Asher, and Varinthorn Christopher, “It can change as we go along”: Social Practice in the Academy and the Community, 92


Lisa Frye Ashe on Morris Louis Now: An American Master Revisited, ed. Kelly Morris, Lori Cavagnaro, and Heather Medlock, the exhibition Morris Louis Now, High Museum, Atlanta, 2006-7; Harry Cooper on Mark Godfrey, Abstraction and the Holocaust; Gail Levin on Action Painting and the exhibition Action Painting, Fondation Beyeler, Basel, 2008, and Action/Abstraction: Pollock, De Kooning, and American Art, 1940-1976, ed. Norman L. Kleeblatt, and the exhibition Action/Abstraction, Jewish Museum, New York, 2008; and Katerina Reed-Tsocha on Charles Harrison, Painting the Difference: Sex and Spectator in Modern Art

Letter of Apology on behalf of CAA and Art Journal, 123