Howard Singerman

Howard Singerman is Phyllis and Joseph Caroff Professor of Art History at Hunter College and is the author of Art Subjects: Making Artists in the American University (1999); Art History, after Sherrie Levine (2012); and Sharon Lockhart: Pine Flat (2019). He has curated and authored lead essays for three exhibitions at Hunter’s Leubsdorf Gallery: Robert Motherwell and the New York School at Hunter (2015); Acts of Art and Rebuttal in 1971 (2018); and Acts of Art in Greenwich Village (2024). His essays have also appeared in monographic catalogues on Chris Burden, Mike Kelley, Allen Ruppersburg, and Frances Stark.

May 2025Critics Page

6:00–7:00 p.m.

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The Clock depends on the conventions of narrative film; first and foremost, continuity and the tools that assemble a continuous narrative space out of fragments: standard shot-to-shot camera rotation, matching on action, eyeline matching, field/reverse field, and the like. In film after film, in any given melodrama, procedural, thriller, or romcom, these are the devices that absorb us, that allow us to identify with the characters, and, more importantly, with the film as a place.

Christian Marclay, The Clock (detail), 2010. Single-channel video with sound, 24 hours. © Christian Marclay. Courtesy Paula Cooper Gallery, New York.

Ad ReinhardtAd's Thoughts and Practices

Ad Reinhardt and Pedagogy

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For many years, I have started my Art Since 1945 survey with Ad Reinhardt’s “How to Look at Modern Art in America,” first published in the summer of 1946 in PM.

February 2014Critics Page

Dear Joachim,

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I have been thinking about your invitation and the questions you’ve posed—though not, I must say, as questions. I don’t know how your prompt will appear when it is polished for the Rail, but something a bit more polemical would have been easier to speak to or push back against. What follows is a kind of reading of your email exchange with Phong, written mostly in the conditional tense.
Sharon Lockhart, "Untitled" 1997. Framed C-print, 48 × 48 ̋. Copyright Sharon Lockhart. Courtesy Gladstone Gallery, New York and Brussels, Blum & Poe, Los Angeles, and neugerriemschneider, Berlin.

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