o literary genre is more ephemeral than art criticism. Mostly that’s a blessing, but sometimes writing of genuine value disappears from view. The 1960s and ’70s were years of tremendous vitality for American art criticism, as they were for American art. Yet today, when writers mention the debates of those days, they often focus on a handful of voices: Donald Judd, Michael Fried, Rosalind Krauss, maybe some late grousings from Clement Greenberg as his pen was running dry. The criticism of many others seems to have been unjustly forgotten. Among them I would have counted, until recently, Lawrence Alloway, who wrote regularly for this magazine between 1968 and 1981. To me, he remains the great intellectual resource among the art writers of that period, so I am happy to point out that a small revival of interest in his work is under way—an essay here, a conference there, and now a useful collection of scholarly papers, Lawrence Alloway: Critic and Curator (Getty Research Institute; $40), edited by Lucy Bradnock, Courtney J. Martin, and Rebecca Peabody. N
Many of the essays are based on archival research in the Alloway papers housed at the Getty Research Institute, where there is clearly a lot of fascinating unpublished material. They cover topics ranging from Alloway’s evolving views of museums to his ideas on the relationship between art and photography; from his love of movies (not “film” or “cinema”) and fascination with science fiction to his mutually enriching exchange of ideas with his fellow sci-fi fan, the artist Robert Smithson. I particularly appreciated Michael Lobel’s essay on Alloway as curator and his “global turn”; Jennifer Mundy’s account of his art-criticism course at SUNY Stony Brook; and Julia Bryan-Wilson’s exploration of his “self-reflexive” approach to criticizing the institutions of which he was a part.