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Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin
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Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin

4.38 of 5 stars 4.38  ·  rating details  ·  896 ratings  ·  74 reviews
Traces the life and career of the California artist, who currently works with pure light and the subtle modulation of empty space.
Paperback, 215 pages
Published December 27th 1982 by University of California Press (first published March 10th 1982)
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Completely fascinating. It's a biography of Robert Irwin, a contemporary artist, and one whose rather minimal works (a canvas with two lines! an apparently empty room!) I'd previously have been inclined to dismiss unthinkingly. Irwin is a thoroughly amazing character, and Weschler subtly but expertly brings him out, largely through Irwin's own words. What feels to me like the core of the book -- and, if the biography is as honest as it feels, the artist -- is the dynamic between certainty, dedic ...more
Kayl Parker
Firstly, I read this book at the recommendation of my Senior Seminar professor, who, instead of telling me to read the lengthened version, encouraged me to get the first edition with 100 less pages because it was cheaper. Instead, I figured if I was going to read it, I might as well read it all, and found the extended edition in the Harold Washington library which I have promptly renewed seven or eight times. I would highly suggest reading the extended version, as I didn't start gleaning pieces ...more
An amazing portrait of Robert Irwin, a modern artist who I wasn't aware of until I began this book.

The title of this book captivated me when I came across it via a random link somewhere on the net. I found as I dug in that many of the themes Irwin deals with are the same I love to ponder: the abstract vs the concrete. The role of perception and thought in how one experiences the world. Spirituality and mysticism, and of course zen and buddhism. A fascinating book, and I _really_ want to find so
Probably the best book about an artist you'll ever read (assuming you ever do read one).

Weschler does what any/every greater writer should do. That is, to coax the reader to invest (and perhaps even "care" about) a subject heretofore (yes, I just used heretofore in a sentence --- correctly?) thought/felt to be uninteresting.

If you're not reading Weschler, you're just not reading.*

*With god (intentional lower case) on my side (thanks Zimmerman) I'll be able to take a graduate course with Mr. Wes
Tony Perez (Editor, Tin House Books): As if she hasn’t given me enough already, last time I saw Darcey Steinke, she gave me a copy of Lawrence Weschler’s book on Robert Irwin: Seeing is Forgetting the Name of the Thing One Sees. I knew Irwin’s work, but was by no means an aficionado; I don’t know how Darcey knew it would, but this book absolutely captivated me. Weschler is succinct but almost chatty as he takes us through Irwin’s early life and the post-war west coast art-scene, and as he walks ...more
Allyson Paty (Editorial Intern, Tin House Magazine): Lawrence Weschler’s biography of artist Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees follows Irwin’s artistic practice and interests over the course of his entire career. Irwin states that he “one day got hooked on [his] own curiosity and decided to live it,” and the book tracks the trajectory of Irwin’s thinking about formal elements art—beginning with questions of the canvas, figuration, and line, and gradually giving wa ...more
If Robert Irwin does a lot for the art world what John Cage did for the music world, I'm glad there's a Lawrence Weschler there to tell his story-- great artists are so often truly terrible writers (Cage, I'm looking at you). And it's not so much that I was interested in Irwin's life story, as I only had a passing familiarity with his work, it's that (like probably a lot of the readers on here) I wanted to see how Weschler did a biography. And he did a damn good one, especially considering how n ...more
This was a difficult book to read becausse of my separate reaction to Robert Irwin as a person and a thinker. Before reading 20 pages, I had the opinion that Irwin is a self-involved prat.

But, his ideas about art and experience dovetail nicely with my recent meditations. Due to my recent introduction to traditional African art (where the question whether what is displayed in museums is art divorced as it is from its performance context--especially in regards to the masks), I've been examining w
Jun 30, 2007 Gina added it
Recommends it for: people who are interested in west coast conceptual art in the 50s
I'm reading this A: Because I looooooved Mr. Wilson's Cabinet of Wonders and B: Because I most often find myself writing about art and artists, and always want the writing to stand on its own, as just that: writing. The reviews of this book give it real merit as a great story brilliantly told, period. So I'm excited to really get into it. I just got my hands on it, and then some new shelves arrived, so the book is currently lost in my "to reshelve" piles. Drat.

OK, I tried. I really did. But this
Was a life-changing event when I picked this book up. Irwin is a reason I still paint and observe. You will be affected by this book in one way or another, but in my way I found joy in not just the making and painting, but thinking about what I was making and painting. If you've never seen an Irwin in person, especially one of the light and shadow works go to Fort Worth Museum of Modern Art I know there is one there right now. I read this before I had seen a piece and it made it that much more o ...more
I'm supposed to be all totally in love with this book being an art man, but I'm not. I can see why some folks are, but it's just not for me. There's plenty of interesting stuff in there though, and I wouldn't go so far as to dissuade an artist from reading it. In fact I could easily see it being & know that it has been inspiring for many of certain types of artists. I'm just not the type of artist that is super stoked on hyper cerebral art/visual/phenomenological theory. I also just think I ...more
what i enjoyed about this books was that instead of it reading as just another biography it reads more as a documentation of the artist as an interview as oppose to anything learn not just about him and his thought process but the little silly things that somehow actually matter even though usually they are kept brings up interesting ideas...its funny and serious i recommend it to a book that is written about an artist...reading things like this articles and s ...more
So there I am, sitting in my undergrad studio. I've got Ad Reinhardt, Franz Kline, Pierrre Soulages, etc surrounding me..struggling to paint my white canvas white in a way that resonates, vibrates. Why am I reading about a guy who stared at two lines on a canvas for two years two and a half years later!! If I read this then...
I believe things happen for a come to the things you need when you're ready, or when the universe is ready to give you a break or whatever...but what an impact
I am astounded over and over at the simplicity with which Irwin expounds upon what has been a life-time of the deepest, richest and most engaged exploration of his practice. He plumbs the depths of his investigation with a sweetly humane approach. Unrelentingly devoted to the question, and then the next question. Not willing that anything should be precious or become precious. Fetishistic and detached at the same time. An artist that has not shown much of what he has made because the act of maki ...more
Shin Yu
This is a great and all-encompassing primer on Irwin's work written through interviews conducted between Weschler and the artist over a 20-year period and is considered a must-read for young artists. Read this book and then go to the LA Moca to see Irwin's early line painting, pieces from his dots phase, and his early disc work. When you're done with that, drive up to the Getty to walk in the garden that the museum commissioned of the artist. The book traces Irwin's growth as an artist and chang ...more
J. Mark
Dec 02, 2007 J. Mark rated it 5 of 5 stars
Recommends it for: all artists
I had been in love with Robert Irwin's light and form experiments long before I knew what his name was. I had seen them in SF's MOMA and at the Norton Simon and the LACMA. A friend gave me this book because he thought I and Irwin thought along similar patterns. It's an undeserved flattery, but I LOVED this book from beginning to end. Allows the reader to not only get a revealing look at one of the great minds of latter-20th-century art, but a look into the movements (by his own admission or not) ...more
very wonderful

here's a thing this book reminded me of:
This is a great book. Irwin's line of inquiry from swing-dancing and working on cars as a kid through painting to installation and public 'sculpture' in his later life evidences a curious mind more interested in questions than answers.
Get the more recent publication with more recent conversations.

I'd like to read the companion to this book, which is a collection of conversations Weschler had with David Hockney that parallel and dispute some of the ideas presented by Irwin on the trajectory of t
Profile of Robert Irwin told through a collection of essays over a long time span. The essays show a very nuanced life and approach to work. I'm so inspired by those that reinvent themselves over and over and Irwin has done just that. This book is one of the least sentimental, most straightforward artist biographies I've encountered. One ends up learning quite a bit of art things too.
Picked this up at the Marfa Bookstore (worth a visit if in the area). As it says in the title, a new expanded 'artist biography' on Irwin, bringing his story up to date since 1985, including what looks to be juicy reading on his experience designing the Getty Center 'Acropolis' Gardens and his clashes with Meier's intentions. The original book is as important as a volume of Rilke, and Irwin's meditations and insights into his artistic process are the equal of Richard Serra's.
Elegant and important and infinitely readable, another triumph in the list of Weschler artist bio/history/criticism set. A delightful (and short!) piece that lets you know 1) Who Robert Irwin is 2) What he is(was) up to and 3) What is so great about Robert Irwin. The only imperfection is that Irwin's pieces are basically unphotographable, so the pictures don't really help. Worth it for the discussion on the life cycle of Coke machines. Extra points for beautiful title and cover.
Lee Barry
An excellent book for all artists to read. A great story of evolution and perseverance. Given how worn my copy was from the library, this book obviously has power.
Loved it. I came to it by way of an interest in books about perception and presence. The format of conversations over many years was a wonderful way to follow Irwin's process as he wrestles with how to create an experience of presence for the viewer. Mesmerizing and enlightening.
An excellent look into the life and mind of minimalist artist Robert Irwin. The connections he makes between early Southern California car culture and how it informs his work is fascinating in itself.

For artists, there is a discussion about how to create the illusion of a perfect square and the resulting ratio he arrived at. Inspiring in its illustration of Irwin's dedication to and pursuit of excellence in his work.
Somehow, a biography of an artist that has never interested me who works in a style that has never pulled at the heartstrings of mine eye was the catalyst for some of the best creative energy that ever ran through these veins. Page after page poured out, winterlit on the back porch during the slow closing shift, shirking duty as a bundle of sweaters and earflapped hat. Coincidentally, it also took me back to Baudelaire.
A classic, life-changing book. Weschler makes a hero out of Irwin. An artist who rarely let his work be photographed needed a book like this to be written to describe his life and work. The result is a fantasy world of art and California life. The most satisfying thing is that when you actually see Irwin's work in person, you learn that it's true. His work leaves you invigorated, mystified, and changed.
I liked how clearly it outlines the intellectual evolution of an artist. I can't think of a book that better describes the process of artistic exploration, how solitary and how absurd it is. That is the main focus and it is successful in that regard. I have a limited tolerance for Irwin's type of art and this type of grad school discussions. Can't help but be impressed by Irwin's example though.
Joe Montgomery
Jun 01, 2008 Joe Montgomery rated it 5 of 5 stars
Recommends it for: darren, jesse, sam
Recommended to Joe by: laura mitterand
Shelves: art
I would recommend this book to all painters. Who knew that Bob Irwin was a west coast Ab Exer! The trajectory of his change as an artist through hours upon hours in the studio is perhaps symptomatic of growth through the context of the 70s or maybe his idiosyncrasy. I also love the parts where he is working on the living conditions of outer space...
Howard Mansfield
By looking at how Robert Irwin makes his art, Lawrence Weschler has written a brilliant book about how we perceive the world. Wescheler lights this book with a lot of California sunshine and ease, which gives Irwin’s lengthy theories room. He has paced this book superbly. Seeing is Forgetting… should be on any top ten list of books about 20th Century art.
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Lawrence Weschler, a graduate of Cowell College of the University of California at Santa Cruz (1974), was for over twenty years (1981-2002) a staff writer at The New Yorker, where his work shuttled between political tragedies and cultural comedies. He is a two-time winner of the George Polk Award (for Cultural Reporting in 1988 and Magazine Reporting in 1992) and was also a recipient of Lannan Lit ...more
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