Archive of Corinna Kirsch

AFC Senior Editor Corinna Kirsch received her MA in Modern Art History, Theory, and Criticism from the School of the Art Institute of Chicago, where she published a thesis on 1960s and 1970s video art. From 2009 - 2010 she worked at the Weisman Art Museum where she curated exhibitions for the drawing and photography galleries. In 2010 she received the C Magazine New Critics Prize.

Corinna has written 632 article(s) for AFC.

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Corinna Kirsch

ARTnews Merges With Art in America: The Facts and Speculation

by Corinna Kirsch on July 29, 2015
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Art criticism is now truly in the hands of the few. News broke last night that ARTnews would buy out Art in America (kind of). These are some details to help you try to figure out what’s actually happening, and what’s just speculation

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Bushwick Rallies Against the Lack of Affordable Housing Units at a Donut-Shaped Luxury Apartment

by Corinna Kirsch on July 28, 2015
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Really, 10 Montieth Street raises the bar for development. It’s more than an apartment complex; it’s a mall for wealthy hipsters. Maybe it would be nice to include more affordable housing units in there, too?

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In New Orleans, the Joan Mitchell Foundation Launches First Artist Residency

by Corinna Kirsch on July 23, 2015
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This fall, the Joan Mitchell Foundation launches its first artists-in-residence program at their brand-new studio facilities in New Orleans’ historic Tremé neighborhood. The inaugural residents come from all over the United States.

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At NEW INC Demo Day 2015, a Cheery Future for Art and Tech

by Corinna Kirsch on July 22, 2015
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When art mingles with tech, there can be a rush to mass-market artsy/techy products; in the early days of new tech, those products can sound terribly goofy, and they often aim at self-improvement. Take, for example, from 1969, artist Thomas Tadlock’s “Archetron,” a color synthesizer that turned black-and-white signals on a TV into colorful psychedelic imagery. It ended up being sold as a “prophecy, meditation, and healing machine” at a new age center in New York. That product never really caught on; and we tend to remember Tadlock more for his art contribution than a commercial one.

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