Comments on: An Interview with Donald Kuspit by Diane Thodos — New York City, April 29, 2009 — Part 1

By: Ruth Aizuss migdal

Ruth Aizuss migdal — Sat, 14 May 2011 19:28:16 +0000

It is great to finally be confirmed that my inability to respond on any level to so much of the so called ‘cutting edge art’ is shared by artists and critics of substance.

By: Jay Zerbe

Jay Zerbe — Fri, 13 May 2011 12:44:34 +0000

i couldn’t agree more with this discussion. thanks!

By: Anwar Shaikh

Anwar Shaikh — Wed, 13 Apr 2011 19:52:26 +0000

Ugh….finally a critic who makes sense. I could cry thinking of all the wasted years and talent that has been diverted in the last 20 years….including my own..

By: Judith Mullen

Judith Mullen — Fri, 18 Dec 2009 17:10:30 +0000

“Feels” like a breath of fresh air! Great Interview, I’m looking forward to the next part.

By: David Richardson

David Richardson — Fri, 16 Oct 2009 05:25:49 +0000

Excellent. There’s an argument for craft here somewhere.

By: Norbert Marszalek

Norbert Marszalek — Wed, 14 Oct 2009 13:30:45 +0000

Superb interview Diane…I’m looking forward to Part 2.

By: Mark Staff Brandl

Mark Staff Brandl — Wed, 14 Oct 2009 12:29:14 +0000

Great interview. Hi Donald —if you read this, As always you are analytically amazing.

By: Victoria Webb

Victoria Webb — Fri, 09 Oct 2009 01:57:39 +0000

Sere – yes, I like my soil full of humus, thank you. Good point.

By: Eve Alfille

Eve Alfille — Thu, 08 Oct 2009 04:36:37 +0000

Not fear of emotion, but embarrassment: a concentrated effort to extricate emotion in any guise, and deal solely with what is left, hence the poverty, the sere soil. No emotion, no heavy breathing, no ornament, no historicism. There are those who appreciate having been witness to the extreme end point, from which we may now seek to return, reclaiming what is most human.

By: Victoria Webb

Victoria Webb — Wed, 07 Oct 2009 16:00:41 +0000

I’ve heard Carl Plansky (painter and founder of Williamsburg Paints) suggest that the fear of emotion in current work is palpable and the opposite of how he paints.

Robots, computerized ‘painting’ reminds me of Leger’s work, referencing the industrialism of Europe…but it seems somewhat sterile compared to some of his contemporaries.

I wonder whether future generations of art historians and critics will even cite emotion as a criteria.