William Collen

He mentions Robert Rosenblum’s contention that there is a discernible difference in how the history of art unfolded in majority Protestant regions of Europe vs. majority Catholic regions; this is something I’ve suspected, and I will have to read some more about Rosenblum’s ideas.

I think that’s why I’m rather annoyed with the current academic approach as exemplified in the pages of October: it seems that such an approach only serves the critics’ agenda. It is not “getting one’s self out of the way.”

@JAAnderson7 's The Invisibility of Religion in Contemporary Art Reading notes: Ch. 3 This chapter was very theoretical, covering every possible way the discussion of religion and art could be conceived. It's a step back from the book’s stated purpose but it provides the...

Perhaps this kind of criticism is not sophisticated enough for the academic art world and the prominent critics; but it is more respectful of the artists and their creations.

of the artists themselves, taking what they say about themselves at face value and not attempting to “read in” any psychoanalytic or revolutionary meanings into the works.

@JAAnderson7 's Invisibility of Religion in Contemporary Art: reading notes to ch. 2. This chapter uses Krauss’ essay “Grids” and James Elkins’ "On the Strange Plase of Religion in Contemporary Art" as jumping-off places to explore why it's so rare to find mention of religion...