Aside from making generalities about “making good photographs” and “earning a living,” celebrated photographer Elliott Erwitt steadfastly refuses to be drawn out.
John Giorno was in the vanguard of what later became the herd: Ginsberg, Kerouac, Warhol, Buddhism, Burroughs, enlightenment, spiritual quests to India, unfettered sex, wild poetry, new technology, experimental forms of expression, queer politics, pot, speed, LSD — all the household bric-a-brac of the counterculture.
How, as an African-American visual artist, do you represent something that no one wants to think about, much less look at? Kara Walker’s solution is ultimately an aesthetic one.
This fascinating exhibition surveys the entire history of the National Academy membership and, almost incidentally, provides a potent cross-section of the history of American art and its discontents.
The book will stand as a good first stop for anyone interested in Alfred Stieglitz, 20th-century photography, or American modern art.
Jean-Philppe Blondel’s books are especially praised by critics for their charm and smoothly-shaped prose.
In more pedantic hands, Little Dancer Aged Fourteen could easily have been a tedious and frustrating read. Instead, despite the dense and ultimately inconclusive source material, the book is continuously fascinating.
Despite its serious treatment of surreal art, Monsters & Myths is a real delight.
Life, Death & Revelry explores the aura of the Farnese Sarcophagus from several points of view, including those of the conservators who recently cleaned it of decades of accumulated grime.
To modern sensibilities, Frederic Edwin Church’s field sketches and early studies, with their virtuoso spontaneity and unmediated naturalism, may have more appeal than his epic paintings.