HeyJaredDan Duray
- Indexed articles, last 90 days
- 14
- Latest publication
- Sep 23, 2026
- Outlet visibility, for The New York Observer – New York City
- Top 500K sites
- Earliest in this view
- Jul 8, 2026
Latest articles
New York (opens the original)
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Director Soyoung Yoon Says Critical Theory Still Anchors the Whitney ISP, Just Not the Way It Used To A former Independent Study Program fellow and faculty member, she inherited a program still recovering from the censorship controversy that led to its suspension in 2025. She describes the ISP's core value as peer-to-peer learning, distinguishing its culture of public intellectualism from that of a traditional MFA or Ph.D. program. By Dan Duray
One Fine Show: “Timeless Mucha, The Magic of Line” at the Nelson-Atkins Museum of Art (opens the original)
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In the horrible geography and chronology in which I went to college, you could tell much about a person by the posters they hung in their dorms. The jocks would always have their bikini babes, or the one with the members of t.A.T.u. kissing each other, which was said to be a powerful aphrodisiac. We intellectuals turned our nose up at that kind of thing, favoring instead posters for movies directed by the Coen Brothers or Quentin Tarantino. The art students would inevitably have the work of Alph
Grey Art Museum’s Alison Weaver On the Breadth of the University Museum Mandate (opens the original)
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(Editor’s note: This article was originally published in February of 2026.) In January, New York University announced that Alison Weaver would serve as the next director of its Grey Art Museum. Founded in 1975, the space has offered generations of students the opportunity to realize their more experimental curatorial ideas while staging impressive exhibitions that often use the university’s collection of more than 6,000 artworks. In 2023, the institution moved to a new location with the promise
One Fine Show: The Holy See’s “The Ear is the Eye of the Soul” at Giardino Mistico (opens the original)
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It takes a lot for an artwork these days to make international headlines, but Florentina Holzinger managed to do it with the Austrian pavilion at the Venice Biennale this past May. The experimental theater director’s SEAWORLD VENICE (2026) became such a smash hit that it became impossible to see at the opening of the biennale after the first press preview day, as lines stretched far into the Giardini. A profile in the New York Times followed and another dropped this week in the New Yorker. When
One Fine Show: “Peggy Guggenheim in London, The Making of a Collector” (opens the original)
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Galleries have been having a tough time, in the primary art market and in the press. How my colleagues report on their closures with such glee! In defense of these reporters, many of these galleries wrote their own ends by overextending themselves, opening far-flung branches to stage exhibitions that they knew to be retrograde. But in their purest form galleries are a necessary part of the avant-garde. They’re private businesses that take a risk on artists because they believe their voices will
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For The New York Observer – New York City, the outlet · Measured Aug 1, 2026
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