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Avant-Guardian Musings

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“Art is an outlet toward regions which are not ruled by time and space”
— Marcel Duchamp

Avant-Guardian Musings is a curated space of ideas and information, resources, reviews and readings for undergraduate and graduate students studying modern and contemporary art history and visual art theory, film and photography studies, and the expanding field of visual culture and screen studies. For students currently enrolled in my courses or the field school, the blog and associated social media links also serve as a place of reflection and an extension of the ideas and visual material raised in lecture and seminar discussion.

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From the Archives | How (And Why) To Take Excellent Lecture Notes
From the Archives | How (And Why) To Take Excellent Lecture Notes
about 8 months ago
Weekly Musings + Round Up... And A Few More Things
Weekly Musings + Round Up... And A Few More Things
about 2 years ago
Weekly Musings + Round Up... And A Few More Things
about 2 years ago
Weekly Musings + Round Up... And A Few More Things
Weekly Musings + Round Up... And A Few More Things
about 2 years ago
Top 10 Modern and Contemporary Art Exhibitions Worth Visiting In 2023
Top 10 Modern and Contemporary Art Exhibitions Worth Visiting In 2023
about 2 years ago

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Summer freedom vibes ✨💃🏼☀️🕶️🍓✨more than ever, not taking it for granted.
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#shamelessselefie #summer #stressfree #freedom
Summer freedom vibes ✨💃🏼☀️🕶️🍓✨more than ever, not taking it for granted. . . . #shamelessselefie #summer #stressfree #freedom
Going into June like… 💃🏼✨💋🏍️💨
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#startofsummer #zerofucks #motorcycleofinstagram #motorcycle #sportbikelife #aprilia #apriliars660 #motogirl #whistler #seatosky
Going into June like… 💃🏼✨💋🏍️💨 . . . #startofsummer #zerofucks #motorcycleofinstagram #motorcycle #sportbikelife #aprilia #apriliars660 #motogirl #whistler #seatosky
Today was all about urban, graffiti, and street art, and I am always struck by the range of materials, content, and creativity in Paris. Here’s a small survey of work that caught my eye as we made our way from Belleville through the Marais to C
Today was all about urban, graffiti, and street art, and I am always struck by the range of materials, content, and creativity in Paris. Here’s a small survey of work that caught my eye as we made our way from Belleville through the Marais to Central Paris 👀✨💙 . . . #paris #streetart #urbanart #arthistory #graffiti
Happy Birthday Brian @barenscott 🎂🎉😘 Gemini season is here! And while we didn’t get to ride today, we did get to race bikes at the Louvre video arcade, see all the motorcycle shops in Paris, eat yummy pastries, drink wine and picnic in the T
Happy Birthday Brian @barenscott 🎂🎉😘 Gemini season is here! And while we didn’t get to ride today, we did get to race bikes at the Louvre video arcade, see all the motorcycle shops in Paris, eat yummy pastries, drink wine and picnic in the Tuileries, and explore the street art in Belleville. And tonight, we will dine and celebrate at your favourite restaurant. You know there is no one else with whom I would rather spend a day chilling, wandering the streets, and laughing. “You and me and five bucks.” I love you forever, and I hope this next year brings you more of what you’ve been dreaming about❤️
If I could pick one couture creation from the Louvre Couture exhibition I posted about earlier, this John Galliano for Christian Dior gown from his Fall 2006 haute couture collection would be it! Inspired by the court of Louis XIV and many of its mos
If I could pick one couture creation from the Louvre Couture exhibition I posted about earlier, this John Galliano for Christian Dior gown from his Fall 2006 haute couture collection would be it! Inspired by the court of Louis XIV and many of its most rebellious women, the gown is designed with partial armour and creates this beautiful tension, movement, and awe that is hard to express. Simply put, Galliano is a true artist and this dress is a masterpiece. . . . #louvre #paris #louvrecouture #johngalliano #hautecouture #fashion #arthistory

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© Dorothy Barenscott, Avant-Guardian Musings, and dorothybarenscott.com, 2010-2023. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Dorothy Barenscott, Avant-Guardian Musings, and dorothybarenscott.com with appropriate and specific direction to the original content.

Artist Jean Michel Basquiat was a prolific note-taker and filled composition books with both notes and drawings as part of his creative process. The Brooklyn Museum held an exhibition of his notebooks in 2015, and I was fortunate enough to view it a…

Artist Jean Michel Basquiat was a prolific note-taker and filled composition books with both notes and drawings as part of his creative process. The Brooklyn Museum held an exhibition of his notebooks in 2015, and I was fortunate enough to view several examples along with the New York Field School students of that year.

From the Archives | How (And Why) To Take Excellent Lecture Notes

September 23, 2024

** This post is the first in a series I am calling FROM THE ARCHIVES, where I will be selecting, dusting off, and refreshing some of my most popular blog entries from over the past 14 years of content creation for my students. As I have come to realize, my blog’s two year hiatus did not prevent many of my newest students and others exploring the website from discovering valuable ideas and lessons they could implement in their own academic journey. I want to thank everyone who has encouraged me to jump back into this long-form content creation, and to those who commented, shared, and/or contacted me about specific posts over the years. In today’s social media climate, where the age of TikTok shrinks attention span and willingness to sit and read old-fashioned blog posts, I am hoping a return to this kind of content will be inevitable as we collectively find ways to slow down and pay closer attention what we consume via the screen.

This post on note-taking was first published in November 2017, and I have updated many of the links. and added a few more specific instructions before republishing. In the case of 2024 vs. 2017 advice, I have noticed that changing assessment methods— moving further away from traditional exams and privileging reflection, recall, and application of knowledge in new and unexpected ways— has transformed the WHY and HOW of note-taking. I have accounted for this in the updated post and invite fresh eyes to consider my recommendations.


Once upon a time, before the Internet, the laptop computer, and digital recording devices, students’ lives depended upon their ability to take excellent handwritten class notes. Without them, there was very little chance of doing well in a course, especially as it was much more difficult to access lecture information in a much reduced information economy. I still remember the panic when I was a senior in high school and lost my history notes in the days before an important provincial exam. Trying to locate friends on short notice who could lend me their notes was quite the task, while attempting to re-learn the material from the few books to which I had access proved both stressful and laborious.

Since that time, and with the advent of new technologies, I have experimented as a student and researcher with note-taking and have also watched successive generations of students navigate the important task in my courses. Whether taking notes on a laptop, recording them on a phone, using apps and various software platforms to organize ideas and images, or even forgoing note-taking and writing the big ideas following a class, I have seen and also tried almost every method of recording and recalling class lectures and seminars. But what I have learned and observed through trial and error (and now backed up by studies—more on that later) is that the essence and methodology of traditional handwritten note-taking remains the gold standard and, more importantly, is proven to be the most successful way to record and retain information communicated in a classroom.

Taking notes by hand takes account of an entirely different set of kinetic actions than typing on a computer. Don't believe me? Try brainstorming or conceptualizing an idea using only a keyboard and see how limited your possibilities for expression …

Taking notes by hand takes account of an entirely different set of kinetic actions than typing on a computer. Don't believe me? Try brainstorming or conceptualizing an idea using only a keyboard and see how limited your possibilities for expression are. 

But Why Take Notes In the First Place?

Now before I pass along some tips and methods to produce good class notes, I realize that I have to back up here and remind many students why taking notes is important in the first place. In the past several years, I have noticed fewer and fewer students actively taking the time to record anything in class. This alone is very alarming when considering that the core of exams and assignments rely upon ideas first introduced in lecture. And when I have asked students why they neglect to take notes, I often get some combination of response that suggests they could “look up the idea later on the Internet,” that they could have a friend text or email them their notes if they felt they needed them, or that the textbook/readings were enough to consider when studying.

Clearly, this is a problem, and especially so when considering why good note-taking is so vitally important. Consider these six key reasons as outlined by Stanford University’s note-taking skills workshop:

1. Notes trigger memories of lecture/reading

Taking notes and reviewing them later acts as trigger for a great deal more information, analysis, and context than is even recorded. This is also why using someone else’s notes is often less valuable than making your own associations and synthesis of ideas in the form of personalized notes.

2. Your notes are often a source of valuable clues for what information the Instructor thinks is most important (i.e., what will show up on the next test).

Remember that when your professor is formulating exams, they rely upon their own class notes and/or ideas raised in class to build questions and potential themes. In my case, I will go as far as to say “write this down” to prompt students to record ideas I already know they will likely be tested on. If you don't record these ideas, you are at a huge disadvantage when later tested.

3. Notes inscribe information kinesthetically (relating to or resulting from bodily motion)

This point should almost come first. The act of directly recording ideas from your active brain to handwritten expression is one of the most key, albeit mysterious, aspects of successful note-taking. Just think of all of the quick free association, scribbles, doodles, arrows, and other mark-making techniques you use when brainstorming or conceptualizing concepts on paper that are not at all intuitive or quickly possible via a computer. Even having experimented with note-taking on an iPad using an Apple pencil, there is still something missing from the primal act of moving your hand across a page.

4. Taking notes helps you to concentrate in class

Distraction is the disease of our times, and multi-tasking is essentially a late capitalist myth. I cannot tell you how often I have found myself unintentionally surfing or checking email when using a computer to take notes in a meeting only to realize I have no real sense of what is being discussed. Now imagine how much is potentially missed in an important classroom discussion. Simply put, active listening and comprehension requires your full attention, and taking notes centers your attention squarely on what you are hearing.

5. Notes create a resource for test preparation

This should be obvious, and even more so as you move into upper levels of academia. Yes, you can read the textbook and attempt to figure out what you will need to study using the syllabus, but if you actually calculated the time, effort, and stress needed to prepare for an exam without notes, you would soon realize that note-taking is actually the best investment in both your time and your sanity.

6. Your notes often contain information that cannot be found elsewhere (i.e., in your textbook).

This. Every professor plans the scope of a course to include information, ideas, and analysis that are either from their own original research and/or not included in the assigned textbook and readings. These are often ideas that cannot be found anywhere else, and certainly not via a simple Internet search. 

Another Basquiat notebook-- he was most fond of the kinds of everyday composition notebooks used in school. This is a reminder not to overthink the note-taking process. Just start and use your handwritten expression and preferences to guide you.&nbs…

Another Basquiat notebook-- he was most fond of the kinds of everyday composition notebooks used in school. This is a reminder not to overthink the note-taking process. Just start and use your handwritten expression and preferences to guide you. 

Ditch Your Computer and Stick to Handwriting For Higher Grades

So the bottom line is this: to take excellent class notes, you have to return to basics (paper and pen) and stop relying on technology. This has been a tough admission even for me to make as I count myself among the early adopters of new technologies. But if you aren’t yet convinced, consider this new study that was recently published in the Economics of Education Review in 2017. The authors of the study analyzed the grades of 5600 students at an American liberal arts university and concluded that laptops appeared to harm the grades of students. As one review of the study summarized: “While the authors were unable to definitively say why laptop use caused a “significant negative effect in grades”, the authors believe that classroom “cyber-slacking” plays a major role in lower achievement, with wi-fi-enabled computers providing numerous distractions for students. “Students believe that laptops will improve their productivity but the opposite occurs,” Richard Patterson told Times Higher Education. He explained that this was “either due to the superiority of pen and paper, the unforeseen influence of distractions, or some other unseen factor.”

CONSIDER THE “WHY” OF YOUR NOTE-TAKING METHOD BEFORE CHOOSING THE “HOW”

As more traditional lecturing styles associated with the “sage on the stage” motif are replaced with the flipped classroom “guide on the side” model, the way you approach note-taking also needs to change. This largely depends on how you will be graded and assessed, and these are some guidelines I would consider:

  • In a traditional lecture class where you will be asked to write an in-class midterm and final exam, it is important to find out how the exam will be structured (i.e. multiple choice, memorizing names/dates, recalling big ideas versus specific case studies) and if any portion of the assessment allows for a “cheat sheet” or open book. Once you have this information, you can design your note-taking to anticipate the kinds of facts and ideas you will need to recall when exam time arrives. The formatting of notes will then follow something of a pattern where each class you will capture a series of specific ideas woven through the lectures.

  • In a seminar style or flipped-classroom course where you may be asked to create reflective journal entries and/or respond to readings/videos and offer up written responses following classroom discussions and activities, your note-taking will be looking to capture the big core questions that are addressed in each class. Most importantly, don’t make the mistake of assuming you do not need to take notes if you are not writing traditional exams. You still want to actively synthesize and distill the big ideas and case studies you are tackling in these kinds of courses in order to reference them in a meaningful way when it comes to assessment. Nothing beats seeing how a student can work in classroom discussion and course questions into their writing assignments.

  • In an online or asynchronous course where there is a great deal of self-guided learning, note-taking is also very important. Here, because all of the content is provided, your job is to take notes on the ideas that you want to understand better, and to make sure you go back and review aspects of the course content that you need to better understand.

Create a Note-Taking Method and Stick With It

So now that we have reviewed: why to take notes, why handwritten note-taking is best, and how to establish the “WHY” of your note-taking approach, we can turn to some methods. When it comes to note-taking, there are many approaches, but I believe that the one that will be most successful is the one that you will most consistently use. No need to overthink it, just work with your own instincts and preferences.

For example, in my own note-taking method, I tend to use star symbols (*) to indicate in my notes when a very important idea is being conveyed or summarized. I don’t tend to have more than a few of these is any set of notes. I indent and use numbers when creating lists of ideas or noting examples raised in discussion. I also make sure to underline all of the titles of works and add dates and a mini timeline on the left-hand side of my notes when taking notes that cover a chronology. Another thing I like to use are arrows and various shapes and scribbles to reinforce an idea in a way that makes sense to my visually driven memory. Finally, I often use a big Q symbol to record questions that arise for me when learning new material. This has also been useful when I wanted to raise an idea later in class discussion or office hours.

The Cornell Note-Taking Method is an oldie but a goodie. 

The Cornell Note-Taking Method is an oldie but a goodie. 

“When it comes to note-taking, there are many approaches, but I believe that the one that will be most successful is the one that you will most consistently use”
— Dorothy Barenscott

The note-taking method I evolved for myself has also drawn on elements of the Cornell Note-Taking Method that was taught to me in high school.  The technique of dividing lined note paper into three sections: 1) concept 2) notes 3) relationship is one that I still largely follow. The advantage of this technique is that you can leave the “relationship” part of the notes blank and then practice the habit of reviewing your notes periodically to figure out what bigger ideas you have learned in a particular lecture. I have also found that leaving this part of the note-taking method for later allows you to digest and add in ideas that may have been triggered in textbook readings that support the lecture.  

If you find this note-taking method to your liking, you can even download and print a customized Cornell Note-Taking template here and have on hand for your classes.

So there we have it, something old appears to be new again in academia. Go forward and make sure to take handwritten notes!

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Roger Hilton. February 1954 (1954) in the collection of Tate Modern

Weekly Musings + Round Up... And A Few More Things

February 05, 2023

After an intensive week of grading the first wave of assignments for the semester, I took some time to reflect on how much my pedagogical approach has moved in recent years, and especially since the beginning of the pandemic. In the early stressful months of 2020, when everything suddenly moved out of the experiential classroom and into the disembodied online world, I decided I would value curiosity, effort, and engagement over other traditional values of mastery, memorization, or recall when assessing student success. Using reflective journaling, for example, and asking students to apply concepts encountered actively and pragmatically in their everyday lives helps prove that abstract ideas about art and visuality could be made practical and relevant. Along with encouraging students to use their first-person voice (“I see…” “I think…” “I believe…”), recording or videotaping their responses, and/or producing visual arrangements or engaging their own creative talents to support their assignments, I wanted to find ways for students to focus on close analysis and observation that engages more of their intuitive and free-thinking right brain.

Awe: The New Science of Everyday Wonder and How It Can Transform Your Life by Dacher Keltner (2023)

More and more, I am also finding myself compelled to pursue this approach to teaching as the crisis around mental health and increased anxiety unfolds in the wake of the pandemic. Providing students an opportunity to check in with how they feel and relate to ideas encourages ownership and can even spark that moment of discovery that all of us as educators live for.

In his new book, Awe: The New Science of Everyday Wonder, researcher and psychology professor Dacher Keltner explores both the physical and emotional manifestation of experiencing awe as one of the keys to a happy and fulfilling life. I cannot recommend this book highly enough, and especially to those who teach in the arts. Not only are Keltner’s observations and findings incredibly reassuring to those of us who make time for well-being, pleasure, play, hobbies, and a life lived in balance with work, but they also hold the key to a pedagogical approach that can combat fears around the incursion of artificial intelligence apps in higher education.

I have linked an excellent recent episode from the Ten Percent Happier podcast featuring Keltner discussing his new book in my weekly links below, and I also recommend this Feelings Lab podcast from last summer that speaks to the question of AI and Gen Z students more directly.

Click on text links below or explore the same links visually in the accompanying image grid. For more weekly picks, you can also visit my curated FEEDLY 📌


  • "Andre Walker on Vivienne Westwood"

  • "How Wikipedia Erases Indigenous History"

  • "Did Air Pollution Inspire Impressionism?"

  • "From a marble toilet roll to a giant Lego structure: Ai Weiwei's new London show looks at the value of objects"

  • "‘Gmail Art Advisors’ Are a Pestilence on the Market"

  • "Tiktok's enshittification"

  • "Artists must be protected from piracy in the new world of AI"

  • "Technology Makes Us More Human"

  • "Special investigation: Serious concerns over fate of Ukraine’s museum works taken by Russians"

  • "This Scientist Says One Emotion Might Be the Key to Happiness. Can You Guess What It Is? | Dacher Keltner (PODCAST)"


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Lee Krasner, Self-Portrait (1931-33). A rare representational work by an artist known for their pioneering influence on the Abstract Expressionist movement. My photograph capturing this stunning painting at the 2019 Barbican Krasner retrospective.

Weekly Musings + Round Up... And A Few More Things

January 29, 2023

This past week, I took extra time to discuss the importance of International Holocaust Remembrance Day with many of my art history students. With the uptick of antisemitism in recent years, I have felt a more urgent need to contextualize Jewish voices and histories in my courses. This also comes with a more personal recognition and associated shame that I have had growing up in a family and cultural context (child of Hungarian immigrants) where antisemitism and Holocaust denialism was sadly rampant, normalized, and encouraged— look no further than Viktor Orban’s Hungary for evidence. Thankfully, my education and exposure to the truth of history has provided an escape from that hateful thinking, and today much of my research is driven by a compassionate commitment to understanding persecuted peoples and marginalized subcultures (especially of artists and art movements).

A well-timed opportunity arose in my modern and contemporary art history course, where we had reached discussion about the immediate post-WWII era and the effect on artists of circulating photography of concentration camp survivors and emerging news and realization of the full extent of the Holocaust. In the aftermath of WWII, artists around the world struggled with how to make representational art in the wake of the Holocaust, and many art movements tied to abstraction, expressionism, and existentialism provided outlets of exploration and experimentation. Still, art historians have continued to write the period from a limited perspective, often minimizing the efforts of Jewish artists, and especially those who were also women. Lee Krasner, wife of famed “drip painter” Jackson Pollock, is the prime example of this art historical oversight, and I have worked to integrate discussion of her practice and influence on Pollock and the Abstract Expressionist movement into my courses. Importantly, and with much significance in today’s political climate, I discuss how Krasner, the daughter of Ukrainian-Jewish immigrants who had sought to escape antisemitic persecution during the Russo-Japanese War, created astonishing works of art establishing the scale and “all-over” abstract gesture that directly influenced Pollock’s famous works.

“‘I was a woman, Jewish, a widow, a damn good painter, thank you, and a little too independent…’”
— Lee Krasner
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Still, Krasner could never (back then or even today) become the poster child of the most famous of all American art movements. Both her Jewish identity and sex make that impossible. But in recent years, a concerted attempt to correct the record has taken hold. In 2019, while co-leading the London and Venice Biennale field school, we visited the much overdue Lee Krasner retrospective at the Barbican (see my photographs above) where her significance and influence was finally being acknowledged, along with the importance of her Jewish identity. This exhibition, an important move and corrective by the art world in the right direction.

For more information towards understanding the significant contribution of Jewish artists to modern and contemporary art— many who lost relatives or their own lives in the Holocaust— I recommend visiting The Art Story websites database. In particular, take a deep dive into the practices of Diane Arbus, Robert Capa, Eva Hesse, John Heartfield, Allan Kaprow, Barbara Kruger, Barnett Newman, Mark Rothko, Carolee Schneemann, Tristan Tzara, and Hannah Wilke. You will come away inspired and enlightened!

Enjoy the weekly links… click on text links below or explore the same links visually in the accompanying image grid.

  • "Iranian artists submit work anonymously for online exhibition on death of Mahsa Amini"

  • "Anime broadens its reach — at conventions, at theaters, and streaming at home"

  • "Words, Words, Words: What does the advent of ChatGPT mean for already beleaguered teachers?"

  • "ChatGPT May Well Rewrite the Rules of the Art World. But Art Also Shows Us the Limits of What A.I. Can Do"

  • "Canada chooses Kapwani Kiwanga for its 2024 Venice Biennale pavilion"

  • "Venice Biennale 2024: all the national pavilions, artists and curators announced so far"

  • "Yayoi Kusama and Louis Vuitton: the enduring allure of art and luxury"

  • "Artists Have Long Held Day Jobs to Make Ends Meet. A New Exhibition Makes the Case That Side Gigs Also Fuel Creativity"

  • "What Does TikTok’s “Corecore” Have to Do With Dada?"

  • "The Academic Career Is Broken"

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Winter 2019
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Joseph Beuys, Chinese Hare Sugar (1979) in the Tate Modern Collection.

Weekly Musings + Round Up... And A Few More Things

January 22, 2023

I often wonder what artists, critics, and art historians like me would have said if told twenty years ago that AI (artificial intelligence) would prove one of the most threatening technologies to both the art world and academia. Maybe you noticed somewhere around late November and through December all of the crazy AI-generated self-portraits on Instagram? Or perhaps you have caught wind of the cheating scandals and other academic integrity violations citing the use of sophisticated chatbot generators that helps students create text and even entire essays based on short prompts. Over the winter break, I had several conversations with artists (emerging and established), studio art instructors, and fellow academics about their own frustrations, worries, and fears about AI image generators like Jasper and Lensa and the growing popularity of ChatGPT. Overwhelmingly the concerns revolve around how to identify “real” versus “AI-generated” content coupled with how to prevent and discourage using these technologies. In this week’s selection of art world news links, you will see these conversations bubbling up in many different directions, and I too will be taking some time to muse about the ramifications of AI moving ahead into 2023.

Enjoy exploring the links and thinking about how AI will likely shake your world in 2023 and beyond.

Incidentally, as we celebrate the lunar new year and the Year of the Rabbit, I thought it fitting to begin my year’s musings by selecting a Joseph Beuys work Chinese Hare Sugar (1979) as my feature image for the weekly roundup. A performance artist, teacher, and art theorist, Beuys sought to broaden the definition of art through several “actions” including How to Explain Pictures to a Dead Hare (1965) and its affiliated art projects (including the one I selected here) that explore references to rabbits (hares) and sugar (honey) as a means to understanding the unique aspects of living and activated knowing. This, perhaps an antidote to the “evils” or “soullessness” of AI. As Beuys explained back in 1971:

For me the Hare is a symbol of incarnation, which the hare really enacts- something a human can only do in imagination. It burrows, building itself a home in the earth. Thus it incarnates itself in the earth: that alone is important. So it seems to me. Honey on my head of course has to do with thought. While humans do not have the ability to produce honey, they do have the ability to think, to produce ideas. Therefore the stale and morbid nature of thought is once again made living. Honey is an undoubtedly living substance- human thoughts can also become alive. On the other hand intellectualizing can be deadly to thought: one can talk one's mind to death in politics or in academia.

  • "Getty is suing a popular AI image generator for copyright infringement"

  • "Artists file class-action lawsuit against AI image generator companies"

  • "What’s in Store for NFTs in 2023?"

  • "Can Instagram‘s Algorithm Curate an Exhibition Better Than a Human?" 

  • "Making Art for the Age of Screens"

  • "Viral TikTok Joke About the Mona Lisa Being Stolen Generates Mass Confusion"

  • "Can Art History Be Taught Without Someone Becoming Angry?"

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  • "What Rights Do Artists Have When Their Work Is Destroyed?"

  • "Is this by Rothko or a robot? We ask the experts to tell the difference between human and AI art"

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Louise Lawler, Splash (2006) a work that will be featured at one of my top ten exhibitions, taking place in London at the Tate Modern as part of "Capturing the Moment: A Journey Through 100 Years of Painting and Photography” June 14-Jan 28, 2024

Top 10 Modern and Contemporary Art Exhibitions Worth Visiting In 2023

January 08, 2023

Happy New Year and welcome to a 2023 that appears (fingers crossed) promising for art lovers and travelers. I am also coming out of something of a blogging hibernation to breathe life back into my weekly round-up after a 2022 that had my time and attention focused on other priorities and without the same energy and optimism for the often-depressing state of the art world. But in recent months, with the successful planning and recruitment of excited students signing up to join the Paris Field School I will be co-running in June, along with finding something to a closer to a “new normal” in the balance of post-pandemic teaching and research, I am finding myself itching and excited to reconnect with those who find these kinds of posts of interest.  

The art world and art tourism, as an industry having the spent the better part of three years under a cloud of uncertainty, also appears to be awakening. With pandemic restrictions preventing large-scale exhibitions since 2020, it is heartening to see the calendars of “future exhibitions” sections of major museum and galleries advertising some fantastic shows for the year ahead. What I present here below is part of a tradition that I started back in 2011 on my website when I responded to students and blog visitors who would ask me what I would recommend as art cities and art shows to visit in the year ahead. In subsequent years, I developed the top ten selection of modern and contemporary art exhibitions in part based upon where I planned to travel, but also based upon where I would want to go if I had the time and resources. For 2023, I have already booked travel to New York and Paris and hope to make it to London in the fall (the selections for these cities below are big highlights for me), but I always have a list like this in mind when talking to artists and fellow art travellers. And yes, always a selection closer to home (I’m looking at you Vancouver). Happy exploring and best wishes for the year ahead—I hope this list whets your appetite for a return to travel and a return to experiencing art in person.

P.S. I present the exhibitions in chronological order of opening, not in any other oder of preference— they are all special and important in their own way.


NEW YORK| Meret Oppenheim, My Exhibition (Jan 1 – Mar 4)

STOCKHOLM| Moderna Museet: Laurie Anderson (Jan 4-Mar 9)

LOS ANGELES| LACMA: Coded: Art Enters the Computer Age, 1952-1982 (Feb 12-July 2)

PARIS| ORSAY: Manet/Degas (Mar 28-July23)

NEW YORK| WHITNEY: Josh Kline: Project For A New American Century (Apr 19-Aug 31)

PARIS| Foundation Louis Vuitton: BASQUIAT X WARHOL. Painting 4 Hands  (May 4-Aug 28

AMSTERDAM| Modern (May 18-Sept 24)

VANCOUVER| VAG: Fashion Fictions (May 27-Oct 9)

LONDON| Tate Modern: Capturing the Moment: A Journey Through 100 Years of Painting and Photography (June 14-Jan 28, 2024)

LONDON|Royal Academy of Arts: Marina Abramovic (Sept 23-Dec 10)

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© Dorothy Barenscott, 2010-2025