An unexpected gift (aren't some of the best one always a surprise?) for Christmas that I've been through from front to back. At least I looked at theAn unexpected gift (aren't some of the best one always a surprise?) for Christmas that I've been through from front to back. At least I looked at the pictures:)!
Wegman's Weimaraners are iconic both photographically and in American art culture. While one might think of Polaroids as being 'snapshots', these are certainly not.
Highly recommended for connoisseurs of the photographic image and dog lovers!
The Allies in WWII made a crucial decision for humanity and mankind. It was to return looted art to the country of origin after the war, including GerThe Allies in WWII made a crucial decision for humanity and mankind. It was to return looted art to the country of origin after the war, including Germany! Nothing of this type had ever been done before. In fact, it usually took another war or more to return cultural touchstones to the defeated. Generals Eisenhower and Marshall with President Roosevelt's backing decided on this very unusual step along with a civilian commission that had encouraged this action.
The Monuments Men, or more properly Monuments, Fine Arts, and Archives section of the Allied Forces in Europe (and later elsewhere) were charged with the location, cataloging, preservation, and return of looted art and the identification of important structures that if at all possible were to be saved from demolition and plundering. This included churches, historic town halls and civic building and the priceless records of European history they contained.
Author Robert Edsel has produced what is really the first major work on this topic in decades, and the first English language work of this breadth. Fine history and a living memorial to the Soldiers of the MFAA. A must read for a more complete knowledge of WWII. For any art historian this work is on the short list to appreciate that the explosion of art in the later half of the twentieth century can be laid at the feet of the few original Monuments Men and they are owed an eternal debt of thanks....more
A worthwhile addition to a library for aspiring artists or the art lover looking for a good collection of this period of uchiyo and related works.
TheA worthwhile addition to a library for aspiring artists or the art lover looking for a good collection of this period of uchiyo and related works.
The two artists style and the development of the form from one to the next are fairly broadly covered for the formats discussed. The short bibliographies are a good starting point for more in depth reading. This history of art is illuminating for any who want to see images of the floating world prior to modernization in Japan. Much of what we know in the west of these periods is documented visually almost exclusively by this style of artwork.
A smaller format coffee table book that is well constructed with a very eye catching dust jacket. A good introduction. The biographical information on the artists and others mentioned could have been slightly expanded and given this work greater importance for the reader as a reference. Many of the captions and commentary for specific paintings are minimalist. Little more effort would have required for the notes to have been uniformly more valuable. A few choice nuggets of commentary are buried in the text that makes it worth reading in full.
The images of the paintings are great, the accompanying commentary and history is only of average worth....more
There are two versions of this that I have that contain the same photos with two variations (additions/subtractions) between the two. Slightly differeThere are two versions of this that I have that contain the same photos with two variations (additions/subtractions) between the two. Slightly different format covers as well with borders and 'finish'.
A different, earlier Meyerowitz from the soft gauzy photographer of landscapes a decade or so later than many have come to know. Almost documentary, indeed documentary in particular cases of seaside eateries that no longer exist or have been modernized for the tourists, these are photographs of the moment, from an observant eye.
While Meyerowitz is influenced in these photographic series by artists and photographers ranging from Avedon to Edward Hopper, the painter, they are indeed his own.
The 'beach' portraits, including a self-portrait bordering on the creepy, though very centered and full front in nature, are captured with a thought towards the light and the simple backdrop of the ocean and sand. This is Meyerowitz stripped down from what he would produce later in his complex pastel laden landscapes.
Color is the key to this collection of photographs. From the accents of the signage in a Rhode Island restaurant, to the droplets of color from the beach surrounding bathers in monochromatic swimwear, to automobiles of 'an era' that have that rich Kodachrome wash across them all that with the Cadmium Sulfide yellow being so present, these are color photographs.
Only three or four of these photos are distinctly eye grabbers, and then not for the reasons one might think. Viewers with any awareness of the visual language will catch the technique exploited by the photographer, if not consciously certainly by effect.
The real telling quality to this book is that a dozen or more these photographs is that they remain vivid in the mind even weeks after a first brief viewing. Some are distinctly nostalgic now, but were pop culture at its height at the time, an example being the skater girl in her dress.
The special digital inked version of this pops unlike the conventional 4-color, but the 4C version has a quality of its own worth a separate viewing.
Worth a look, and then again later for both the historical development of the photographer, and for the subject material of a recently by-gone by abandonment era.
The all time magical, if a bit scary for some, Circus with focus on Americana. A grouping of artwoThe Circus.
not maximus nor du soleil or even - Circus!
The all time magical, if a bit scary for some, Circus with focus on Americana. A grouping of artwork from promotional to documentary this work is a must view/read for any nostaligiatarian (a made up word of my own I truly believe), historian of the performing arts, etc. Rare or certainly rarely seen images of the great clowns, fliers, and personalities of the road show. The famed poster of "The Last Stand Under the Bigtop" of Ringling Brothers is here too.
While this work is a selection of images and many of the standards are missing or poorly reproduced, overall this is a very worthy compliment to any personal circus memorabilia collection. While the curators of the various represented collections of course had say so, there are some missing pieces of art and notes on collections.
Not enough or little from the Mid-western circus winter camps (Wisconsin, Illinois, Indiana, etc) is included. The Florida of an era is mentioned, but the breadth of the historical inclusions seem to stop around the mid 1960's. Certainly a re-birth and new generation came along in the Circus world and it is worth more mention than it receives.
Overall the work is valid for the material it covers and it does include some, if only a nodding acknowledgement, of the more famous works from the best documentarians. Highly recommended to art history students/buffs/librarians for it providing another chapter in this history and generally recommended to visual artists and connoisseurs of the same for the quality of the better part of the work. ...more
The American artist Roy Lichtenstein, 1923-1997, is considered one of the fathers of the Pop Art movement. From High to Low art and anti-art, LichtensThe American artist Roy Lichtenstein, 1923-1997, is considered one of the fathers of the Pop Art movement. From High to Low art and anti-art, Lichtenstein made began his impact on the art world as the Abstract Expressionists suddenly started to fall from favor.
This brief but rich book covers both biographic and art history related to Roy Lichtenstein. Venturing into the realm of the academic without becoming verbose it remains readable to most readers with some background in modern art, art history, or the like.
Six chapters or sections include; The Beginnings, The Pictures that Lichtenstein Made Famous or The Pictures that Made Lichtenstein Famous, A Closer Look at Benday Dots, Lichtenstein Looks at Art, Sidestepping Abstraction, Compilations, Syncopations, Discombobulations followed by and closing the book Roy Lichtenstein: A Chronology. Organized to be readable as well as informative and providing not a small amount of referential emphasis, the book in less than a 100 pages covers the artist as thoroughly as anything this compact. The book is rich with formal catalog style analysis/commentary of more than 85 illustrations blended in with the text and history of Lichtenstein. The chronology contains an additional 10 photographs of the author from various stages in his life.
With economic but effective description and analysis this author gives us a different Roy Lichtenstein than many other writers or critics have. R.L. was a commentator on art with his art like Picasso before him (who incidentally he sent up with his own 'Cubist' works) and not just a commercial artist who copied and resized the work of others. Author Hendrickson goes to the works of R.L. to show that critics and other writers miss that R.L. didn't just copy. His works alter and play on previous ones in subtle and very sophisticated ways. From color to perspective alteration, the stripped down works of R.L stand very clearly on their own. Even the extreme realism of Trompe-l'œil gets the Lichtenstein treatment. He, the artist, even beat Warhol to the game of painting the comics.
An entire section of this book A Closer Look at Benday Dots is a must read for students and connoisseurs of Lichtenstein. The history of the half tone technique that R.L. incorporated as a reference point in his works is fundamental to the complete understanding of Lichtenstein. Other Pop Artists, notably Warhol, were envious of this inclusion by R.L. and further envious with the seeming ease he used commercial printing techniques in his work. Author Hendrickson expands greatly on the general assumptions and corrects some fallacies that persist about this tool in the artists repertoire.
The weakest points of this work are its brevity and size. An artist whose work is large, larger, and gigantic is not well served by this physically small volume. While the work is rich, in places terse to the point of obscurity, another dozen pages could put this over the top. As it is, it remains a great starting point for any Pop art viewer.
This book ends with Lichtensteins place in modern art. His contradictions never may have been resolved, but what better endnote for a painter who turned a brush stroke in to art itself? ...more
A rare gem in the annals of art exhibit catalogs. Well written meaningful expositions on the centenary anniversary art show of the 1900 'World's Fair'A rare gem in the annals of art exhibit catalogs. Well written meaningful expositions on the centenary anniversary art show of the 1900 'World's Fair' in Paris. Held at the Montclair Art Museum, Montclair, New Jersey beginning in the fall of 1999 through January 2000, then traveling and eventually winding up its run in Paris mid-May 2001, this exhibit revisits the formative moment in the birth of an "American School of Art".
History meets art meets business meets politics circa 1900 and brought back to present day memory by a group of obviously gifted Art Historians and educators with the aid of a fine museum. The contributors to the show ranged from other museums to individuals and trusts that generously provided works including sculpture as well as the obvious paintings.
The five main essays cover the collections from both historical relevance and importance to the development of distinctly American Art. The final essay well examines the continuing legacy and how this show and the exposure it brought to America, primed the pump for the explosion in art in the 1940's and beyond in the United States.
The American Century article is fascinating and succinct in it's examination of the various World's Fairs before and after the 1900 show and America's changing role in the world. America was setting in motion becoming a main player in the World economy and evolving from being a market to being a supplier to the world. The beginning of the American Century from an interesting viewpoint is explored elegantly with long forgotten references from Adams to Carnegie about the new world post Reconstruction and after the 'splendid success of the America in the Spanish-American War'. Historians of all interests will find this article entertaining with or without love or interest in art.
The main foundation articel, 'Constructing the "American School of 1900" ', is one of the more coherent writings about emergence of a movement or school of art in this format that has emerged in many years. It is chronologically well ordered, visually supported and illustrated for all levels of interest and expertise from the neophyte to serious art lover to academic.
A fine collection by curators and art academicians who know their topic and trade. They more than phoned this one in, they obviously enjoyed tremendously this show and the commentary to the same in the preface and intro are not merely polite puffery.
Memorable photographs by a forgotten and almost lost photographer.
Louis Faurer has a small body of work compared to the other important photographersMemorable photographs by a forgotten and almost lost photographer.
Louis Faurer has a small body of work compared to the other important photographers of his era. He is also considered to be one of the missing links in the arc of photography between the two influential photographers Walker Evans and Robert Frank. These relatively unknown and certainly under appreciated photographers in the middle of the twentieth century were 'noir artists even if their work did not match all the rules that some wish to impose on the genre.
Faurer primarily worked as a fashion photographer in both the United States and Europe with his work gracing the covers of many of the famous rags including Glamour at the time it was the publication. He burned out on the world of commercial photography but still worked with the aid of grants and in new realms including finally being shown as an art photographer later in life.
In 1950 Louis Faurer joined the staff of the magazine Flair for its short lived run as an exceptional publication. Andy Warhol's Interview would take much from the early editions of Flair in terms of design concepts including foldouts and montages of photographic and graphic art.
Faurer's photographic life was effectively ended by the injuries he suffered when hit by a bus. No serious work was known from him after that tragedy.
The works of Faurer are on an image by image basis known to many people, serious and casual observers of the genre alike. Few people have until recently connected his Time's Square photos with his images of the crippled, distressed and societal cast offs that would perhaps inspire the work of Diane Arbus. His Fashion work while successful was never famous just because he made the image. In this he was not unlike many fashion photographers of the era who turned in fine images that were workman quality over which few quibbles could be made. Yet there are a few that you have seen and didn't know.
A book worth reading for the monographs at the beginning and for going through the photographs to add more visual links to the catalog of Photograph Art and history.
Writing commentary infused with sly references and euphemisms would not do this work justice. If a biographical tale is what this should be called, soWriting commentary infused with sly references and euphemisms would not do this work justice. If a biographical tale is what this should be called, so be it. But what a story if so ...
Poetic Prose masquerading as a brief history at a moment of cultural and social metamorphosis with incidental music inspired by Hendrix, Dylan, the Morrisons (Jim & Van), and a couple of important drummers with art direction in spite of Warhol is another possibility to consider. Smith's ' assassinating rhythms' illustrated by a Coney Island photo booth salted with the echo's of the brightest dark imagery possibly ever captured on film give this elegy to a couple of kids . . . well gravitas.
A love poem in free form hand drawn and mounted on Bowery refuse backdrops whitewashed by creative passion and the passage of time. Smith demonstrates what decades of life have brought to her song and the control she now wields. The child is still there but the wisdom comes through in page after page with final sentences to paragraphs and sections that are the small grand truths she offers about her and Robert Mapplethorpe's story. Life and death and in the end who got the best ride while some rode the best horse, because it finished.
Denizens and dilettantes haunt the upper rooms and hallways and a club owner who did not care what you did, as long as it was new populate this tale centered around the University of the Chelsea with queen Janis holding forth in Bard's domain. That hotel is still there, generations have come and gone since these two that it spat out flamed and fueled the moments that will forever live in our collective memory whether we are still running or now 'holding hands with God'.
5 stars would indicate perfection, but the storyteller isn't over yet,
Because in this night, she's 'still dancing'. ...more
I don't know that any review I write without resorting to much that has been already said would do this story justice.
A remarkable work in the era I'vI don't know that any review I write without resorting to much that has been already said would do this story justice.
A remarkable work in the era I've read it with the worldwide religious strife and turmoil that has beset this author. The 'life journey' chronicled herein is worth the readers time for the perspective granted to another's view and experience.