Forum: I’ll Be Your Mirror, or Why and How Do We Work on Living Artists <\/h2>\n
![\"Winter](\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2011\/01\/Winter-2008.jpg\")
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Suzanne Hudson, Why and How Do We Work on Living Artists<\/strong>, 8<\/p>\n Agnes Berecz, Painting Lesson: Hanta\u00ef and His Critics<\/strong>, 12<\/p>\n Huey Copeland, Outtakes<\/strong>, 20<\/p>\n Phyllis Tuchman, Two or Three Things I Know about Artist Interviews<\/strong>, 33<\/p>\n Richard Meyer, \u201cArtists sometimes have feelings\u201d<\/strong>, 38<\/p>\n Johanna Burton<\/span>Response: Proximal but Divided<\/strong>, 56<\/p>\n Anne Byrd, Conclusion: How and Why Do We Write about Living Artists?<\/strong>, 60<\/p>\n J. Malcolm Shick, Toward an Aesthetic Marine Biology<\/strong>, 62<\/p>\n Julia Morrisroe and Craig Roland, A Collaborative Approach to Preparing MFA Art Students to Teach at the University Level<\/strong>, 87<\/p>\n Harrell Fletcher, Sandy Sampson, Eric Steen, Amy Steel, Cyrus Smith, Avalon Kalin, Laurel Kurtz, Katy Asher, and Varinthorn Christopher, \u201cIt can change as we go along\u201d: Social Practice in the Academy and the Community<\/strong>, 92<\/p>\n Lisa Frye Ashe on Morris Louis Now: An American Master Revisited<\/em>, ed. Kelly Morris, Lori Cavagnaro, and Heather Medlock, the exhibition Morris Louis Now<\/em>, High Museum, Atlanta, 2006-7; Harry Cooper on Mark Godfrey, Abstraction and the Holocaust<\/em>; Gail Levin on Action Painting<\/em> and the exhibition Action Painting<\/em>, Fondation Beyeler, Basel, 2008, and Action\/Abstraction: Pollock, De Kooning, and American Art, 1940-1976<\/em>, ed. Norman L. Kleeblatt, and the exhibition Action\/Abstraction<\/em>, Jewish Museum, New York, 2008; and Katerina Reed-Tsocha on Charles Harrison, Painting the Difference: Sex and Spectator in Modern Art<\/em><\/p>\n Letter of Apology on behalf of CAA and Art Journal<\/em><\/strong>, 123<\/p>\n","protected":false},"excerpt":{"rendered":"Features<\/h2>\n
Reviews<\/h2>\n