Peter Walsh
Aside from making generalities about “making good photographs” and “earning a living,” celebrated photographer Elliott Erwitt steadfastly refuses to be drawn out.
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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.
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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.
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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.
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The book will stand as a good first stop for anyone interested in Alfred Stieglitz, 20th-century photography, or American modern art.
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Jean-Philppe Blondel’s books are especially praised by critics for their charm and smoothly-shaped prose.
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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.
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Despite its serious treatment of surreal art, Monsters & Myths is a real delight.
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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.
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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.
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Book Interview: Heather Cox Richardson on “Democracy Awakening”