Archive of Paddy Johnson

Paddy Johnson is the founding editor of Art Fag City. In addition to her work on the blog, she has been published in New York Magazine, artreview.com, Art in America, The Daily, Print Magazine, Time Out NY, The Reeler, The Daily Beast, The Huffington Post, The Guardian, and New York Press, and linked to by publications such as The New York Times, The Wall Street Journal, New York Magazine, Boing-Boing, The New York Observer, Gawker, Design Observer, Make Magazine, The Awl, Artinfo, and we-make-money-not-art. Paddy lectures widely about art and the Internet at venues including Yale University, Parsons, Rutgers, South by Southwest, and the Whitney Independent Study Program. In 2008, she became the first blogger to earn a Creative Capital Arts Writers grant from the Creative Capital Foundation. Paddy is also the art editor at The L Magazine, where she writes a regular column.

Paddy has written 1449 article(s) for AFC.

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Paddy Johnson

GIF of the Day: Commercial Photography and Art History

by Paddy Johnson on March 24, 2017

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Sometimes it seems like we’re just taking the same pose, over and over again. Other times, we’re remaking re-imagining poses entirely.

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On Dana Schutz’s Open Casket: A Masterful Yet Imperfect Painting

by Paddy Johnson on March 22, 2017
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Twitter, Facebook, Instagram, the blogz—if you can type on the platform and you’re in the art world, you’ve probably weighed in on the debate over Dana Schutz’s painting of Emmett Till. The painting is based on a photograph of African American Emmett Till, laid in a coffin. The 14 year old young man was brutally murdered in 1955 for flirting with white woman, his face horrifically disfigured in process. Earlier this year, it came out that the story was made up.

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The Whitney Biennial: Visual Screen Burn Courtesy of America’s Finest

by Paddy Johnson on March 16, 2017
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Out of the ten Whitney Biennials I’ve seen, this is the first one that could have used a vomit warning. But here we are, in Trump’s America, a future many of us never wanted to imagine, let alone live through. What is the purpose of art in this New America? This year’s Biennial bears no answers. Art doesn’t exist to defend its purpose and even if it did this exhibition was organized prior to the election. Nevertheless, it does bring then-simmering themes to a boil. So, while almost none of the work is Trump themed, as a whole the exhibition reads as a responsive to the challenges the country faces—increasing income inequality across the board, failing institutions, and the rise of hate-fueled violence. If art is a mirror, then this year’s Biennial should scare the shit out of you.

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