My Love Affair with Modern Art: Behind the Scenes with a Legendary Curator

by Katharine Kuh, Avis Berman (Contributor)

The late curator of the Chicago Art Institute traces the evolution of modern art in America, describing her relationships with numerous artists and collectors as forged throughout her career, and recounting her efforts to acquire some of the Institute's most famous pieces.

Genres: Art, Nonfiction, Memoir, Biography, Art History, Book Club

344 pages, Hardcover

First published January 10, 2006

Reviews

[helena con h · Rating 4 out of 5]

cuando no puedo dormir (cosa que pasa muy a menudo) me gusta leer sobre arte. siempre suelo tener un libro de arte en el colchón de la cama, me da seguridad.

este ha sido precisamente ese libro durante muchos meses. y será quizás por eso por lo que acabarlo se siente como despedirse de una amiga a la que no sabes si volverás a ver.

“katherine kuh, me ha encantado conocerte. gracias por contarme el arte a través de tu mirada… eso sí…. ¿no te daban una pereza inmensa a veces todos estos hombres artistas? en las páginas de tu libro a ratos sentía que no aguantaba a ninguno de estos señoros la verdad… en fin, supongo que en más de una ocasión tú también lo pensaste. un abrazo y hasta……….”


…
¿qué voy a leer yo ahora antes de dormir?

[Jacob · Rating 3 out of 5]

I don't usually factor a book's format into my rating--a book is a book, digital, print, or otherwise--but in the case of the Kindle version of My Love Affair With Modern Art, I had to. I've heard through the grapevine that formatting for Kindle is harder than simply hitting the "convert" button, but this book showcases--via an unfortunate lack of--how much fine-tuning publishers have to do to present a readable copy to consumers.

The maddening thing is that a simple once-over by even a semi-competent editor would have eliminated the problem. Most of the errors don't hinder the content much. Mid-word linebreak hyphens no longer at the end of lines result in reading "Arens-berg" in the middle of a line. More amusingly (but harder to decipher) is most instances of "tl" become a "d"--resulting in words like "tided" (instead of "titled) or "fervendy" (instead of "fervently"). Apostrophes seem to cause no end of problems, as "I've" becomes "Fve." Once you understand what's going on (and there's enough on the first few pages that you quickly see--and begin to read through--the automated conversion flaws), it's easy enough not let these issues impact understanding. But once in a while they arise in artist names or artwork titles--things much less kind to "just figuring out."

(Even without the conversion errors, the editing seems to have been a bit sloppy to begin with a couple of names just flat out misspelled. The one that stands out is photographer Lord Snowdon being typed as "Lord Snowden.")

Which is all a shame because Katharine Kuh's memoir/art history/criticism/theory is a fun--if unfocused--guide to the heyday of modern art, especially as she experienced it as an art gallery owner and, later, museum curator. It seems like a book that could be read by a wide variety of people: art students, curators, art history buffs, people into modern art... I mean, if the title speaks to you, the book is for you. Even those of us who are neophytes about the art world will enjoy the crash course to modern art that Kuh provides.

The most fun I had with My Love Affair With Modern Art was switching between Kuh's text and Google Image Search. I looked up every artist she mentions--whether in detail or in passing--and had a ball. Sure, I was familiar with The Big Names of the movement coming into the book (Duchamp, Kandinsky, Pollock, Picasso) but most of the names were new to me. Getting visual context was enriching and helped me to see a lot of what Kuh was saying.

There are images included in-text, although they're not much help. They're in greyscale (understandable for the historical photos, not for the artwork--especially for a movement where color is so important) and seem a bit fuzzy to my eyes. I'd be curious whether the physical copy of the book also keeps them black and white, or if that is something "special" for the ebook.

Kuh's prose is tight and intelligent. I made good use of Kindle's in-app dictionary. While not dense the way academic writing can be, Kuh confidently (ahem, "confidendy," if you will) uses an expansive vocabulary. It feels natural; I never thought that she was thesaurasing for words to frustrate your average reader. She just saw those words as the best way to communicate. That said, I did think that most of the time she (or her editor) could have downgraded the words to something more common. Even with the obvious distinction the heightened words brought, the added context was unnecessary and risks alienating readers without doctorates (ie, most readers).

Yet all of the travails required to read through My Love Affair With Modern Art are still very worthwhile. Kuh's perspective is engaging and impressive. Born at the turn of the 20th Century, she not only has first hand experience with the artists who we now view as masters, but she was giving shows in her gallery for people like Ansel Adams before anyone knew who the hell Ansel Adams was. You could point to her as a tastemaker, although perhaps she wasn't influential enough to actually guide America's 20th Century art, but she was, at the least, ahead of the curve in judging talent. We see intimate (and often unflattering) portraits of the artists and the circles they ran in.

And I think for anyone who loves art--even just casually--Kuh's writing will be an enjoyable, illuminating experience. A four star book knocked down to three because of rampant Kindle conversion issues and no other reason.

[Jennifer Mafnas · Rating 5 out of 5]

great for 20th century modern art lovers

only if you love 20th century modern art is this a must read. a fascinating behind the scene look at modern artists and their personal lives. it was interesting reading about Kuh’s life and her experiences succeeding in a patriarchal world.

[Iva · Rating 4 out of 5]

Having had her own gallery in the 1930's and then as curator at Chicago's Art Institute, Kuh knew many modern artists. In fact she often spent time with them and their families, even staying overnight in their homes. She reveals the difficult Mark Rothko, the very silent Edward Hopper, (unless he was irritated with his wife who joined them at every meeting) and the warm Hans Hofmann. Kuh is quite knowledgeable--she had also been the art critic at the Saturday Review. This informed memoir reveals so much about the artists, dealers (Bernard Berenson), and others in the art world. Her sharp writing makes a compelling and informed read. Highly recommended for those wanting to know more about the origins of the early modern art movement and the people who created it.

[Rachel · Rating 4 out of 5]

I'm jealous of Katherine Kuh's life after reading this book. She clearly played an important part nurturing artists and the modern art movement while living a life of travel and one of a kind experiences. She offered insight into the lives of many famous and not so famous art figures from the 20th century in this book by describing the interactions that she had with them in the early part of the century. I think this line sums the book up well: "In my years among artists, I found that keeping the peace could be tiring." The angst (real and imaginary) in the artist's lives makes her narrative lively and a must read for those interested in modern art and its evolution in the U.S.

[Leslie kuris · Rating 4 out of 5]

Loved it. Interesting stories about major artists and insights into understanding modern art movements

[Mary Rose · Rating 3 out of 5]

This memoir begins with Avis Berman's introduction in which she discusses the life of gallerist Katharine Kuh, including what Kuh left out of her memoirs, and it was absolutely fascinating. The first chapter by Kuh herself, about her trajectory as a gallerist, was equally fascinating. After that, though, the chapters each take one individual within the art world (mostly artists and the odd dealer, all of them men) and discuss Kuh's working relationships with them and her impressions. This was much, much less interesting. Kuh gets lost in these impressions of these men, who are all already extremely well-known and with much better biographies written about them, so these chapters felt pointless. I've already read about Mies van der Roh, Edward Hopper, Bernard Berenson, and company. The chapters do not provide anything new or unique to Kuh's point of view. If Kuh had been more centered in each as she was in her first chapter, the memoir could have been significantly more successful.

[Shayla Perreault · Rating 4 out of 5]

The tone is so personal and warm, it feels like you're meeting one of Contemporary Art's key figures for a glass of wine and the scoop on what these artists were like. Her memories cover stories of their lifestyle to temperament, cherished theories and most treasured pieces.
That she was ahead of her time is obvious in the reading. One of the passages I particularly found inspiring and relevant for today: "The wheel turns inevitably and what is now forbidden blossoms tomorrow, yet never precisely in the same way. Each period leaves its mark on the history of art.” p59

[Susan Ferguson · Rating 5 out of 5]

It seemed to start a little slow, but after I got to the stories about the Modern artists and their art it was a fast and fascinating read. She knew these artists and often talked to them about their art and art in general. She talks of the personality of each artist and what they tried to achieve in their paintings - what they were looking for and what they were trying to express in their art. These are amazing portraits of these artists. Very interesting.

[Anusha Datar · Rating 3 out of 5]

This book featured an interesting collection of stories about the artists and members of the art world Katharine Kuh spent time with as part of her work as a curator. In telling these stories, she both provides personal insight into figures otherwise shrouded in stereotypes or mystery (and thus humanizes them) and provides a lot of insight into how her own career evolved.

I enjoyed this book somewhat - I thought the stories were interesting, and I liked learning about Kuh and her life. The prose was pretty tight, but I had some trouble with what felt like her attempt to minimize how academic the book sounded while not sacrificing signal - a lot of sections felt verbose or used somewhat obscure vocabulary, but they did not get a lot across. I also didn't think the broader conclusions she drew throughout the book were that compelling.

Overall, I don't think I'd recommend this book, but I will probably find myself recalling fun facts from it.

[Jonathan Dunkle · Rating 4 out of 5]

I don't keep extensive to-read lists, preferring to read what strikes my fancy at a given time. I decided, however, that I would like to reduce what lists I do maintain and finally acquired this book, which maintained a to-read status for almost five years.

Katharine Kuh was an early proponent of modern art and more extraordinary, was a woman doing so during the Great Depression. She lived to be 89 years, outliving most, if not all, of the people she writes about in this memoir.

Saying that she writes about them is a small falsehood as this memoir was completed after her death by Avis Berman. That Berman was able to compile, finish, edit, and otherwise see this through is remarkable and her modesty/humility in keeping in the background is admirable.

The book is tales of Kuh's involvement with numerous artists, some famous, some less so. It's interesting and telling that there are no female artists mentioned unless it is a spouse of a male artist who also dabbled. The modern art world was heavily male-oriented until probably the late-sixties, by which point Kuh was effectively retired.

Berman corrects some factual errors but it is still impressive how many of Kuh's memories are retained and shared. My only struggle with the book is that at times it felt a little gossipy, especially considering that (or because) everyone mentioned was dead and therefore could not respond.

I still found it to be an important and useful book and am glad I finally got it read.

[Stephen · Rating 4 out of 5]

Anyone interested in artists and their art will appreciate this book. It is a story of a lady and her journey in the art world.

[Ana Karenina O. · Rating 5 out of 5]

Es una hermosa revisión a diversos artistas desde la voz y la memoria de Katharine Kuh quien los conoció personalmente pero también conoce de arte extraordinariamente.

[Jerry Painter · Rating 4 out of 5]

Insights into the foundations of modern art although odd that no women artists are named. Still, she was a power woman in a male-dominated world, and an incredible writer.

[Lee · Rating 4 out of 5]

Great read, so many typos

Kuh’s autobiography is a great read for any 20th century art lover or student. The author met the brightest and best and her stories are a wonderful insight to their lives and hers. This is a great read. That being said, the amount of typos and arbitrary use of hyphens was distracting and almost insulting to the author. Such a shame. I hope the edits are corrected soon. Please read.

[Ana · Rating 3 out of 5]

Mujer esencial en la historia del arte contemporáneo. Sus memorias y reflexiones son una gran lección, aunque a veces de la sensación de que hay mucho que no cuenta.
This woman is essential in the history of contemporary art. Her memories and reflections are a great lesson, although sometimes you get the feeling that there is too much what she is not telling.

[Emily Ferrell · Rating 4 out of 5]

*** Warning, there are spoilers in this review. ***

This book began with Katherine Kuh, at age 87, knowing that it would consume the rest of her mental energy and physical strength. Katherine knew that she may pass away before her book of memiors was finished, so she asked Avis Berman to finish. Avis had interviewed Katherine many times throught the years.

Katherine's youth was consumed by contracting polio, in Geneva, where she was diagnosed, paralyzed, and unable to walk. For the following ten years she wore a plaster body cast. Schools were not accessible for diabled children, at that time, so she became a shut-in and learned from her home with a tutor.

One of her adult friends, Morris Wolf, had a collection of prints and showed Katherine how to catalogue them. Along with one of her uncles, whom also collected art and surrounded her with art books. Though she wasn't interested in her lonely and isolated childhood.

She graduated high school and went to Vassar College in 1921. Her major was economics. Upon learning at college she took a class on Italian Renaissance Art, taught by Alfred H. Barr Jr.

Upon graduating from Vassar, she moved back home and enrolled at the University of Chicago to obtain her master's degree in Art History.

While in Chicago for school, she met a widower, George Kuh, an older businessman in which she was involved romantically. In 1929, she pursued her studies more at New York Univeristy, New York, New York; to obtain a PH.D. Within a year in New York, she dropped out of school and married George Kuh. Feeling isolated as a step-mother and home maker, she worked at a bookstore in the art section, lectured, and also taught small classes. She separated from her husband due to his lack of encouragement and appreciation for her love of the arts. She left for a small hotel in Chicago, Ill. The Kuh's officially separated in June of 1935. In November of that year, she opened her Chicago, Illinois, Katherine Kuh Gallery, and in 1936, her divorce to George was finalized.

Her lovers for the next few years where with married men, which suited Katherine just fine.

In 1938, she began a passionate affair for several years with painter Carlos Merida. In order to see more of each ohter, she took a house in San Miguel de Allende in Mexico, during the sumemr months. Merida nicknamed her "kata" and inscribed numerous paintings, drawings and watercolors to her.

By the 1930s, she had meet many prominent African-American artists in the Chicago Renaissance, like the notable Richard Wright and Katherine Dunham.

Katherine Kuh was hired by the Art Institute of Chicago, in 1943, by Daniel Catton Rich, director from 1938 to 1958. In the late 1940s, she and Dan became romantically involved during a Los Angeles, California, art cataloguing trip. They remained lovers though Dan was married and had children. After Dan's wife died in 1968, Dan moved into an apartment, in 1970, though they kept separate apartments, their love and devotion did not dwendle. Dan died in 1976.

In 1956, she was in charge of the 1956 Venice Biennale show by representing the Art Institute. She was not named the commissioner for the show because she was female, so Dan Rich was given credit.

For the last four years of Katherine's life, the polio returned worse than ever, she was home boung. The post-polio syndrome made her muscles weak and achy, her vertebrae to contract and plunge her into spasms of pain, making it hard for her to move. Her skeleton was compressing, she died in her sleep on January 10, 1994, at age 89.

There are many more stories about Katherine Kuh's career as a curator, each artist mentioned has their own chapter devoted to their interactions with Kuh. The artisians mentioned are the two Vincent Van Goghs, Mies van der Rohe, Fernand Leger, Stuart davis, Constantin Brancusi, Bernard Berenson, Mark Rothko, Alfred Jensen, Clyfford Still, Isamu Noguchi, Mark Tobey, Franz Kline, Jacques Lipchitz, Hans Hoffman, Josef Albers and Edward Hopper. These chapters range from 8 to 24 pages each.

I fell in love with this book and her rich history in the arts and as a struggling curator.

[Kate · Rating 5 out of 5]

I loved reading about Kuh's encounters and friendships with what we might term today as "midcentury modern" artists. Having wandered the halls of the Art Institute for many years, and having wondered about the artists whose works hang there, I now have my answer. Hans Hoffman was a delightful, warm, wonderful generous person. Edward Hopper and his work were both spare and deeply intertwined. Mark Rothko, whose work I have spent hours simply staring at, would have completely approved of the way I viewed his work. He was also an enormous influence on many of the other artists Kuh reviews in this story-filled book. Some of it critical reviews of works, some scandalous gossip--the whole thing worked as a behind the scenes glimpse at the best of modern artists. If I have one criticism, it is the complete lack of features on woman artists. Other than that, I loved it.

Despite the lack of women in her reviews, Kuh herself shines through as a art world tour de force in this book. Perhaps because it was finished by her friend and literary executor after her death, we are allowed some biographical glimpses into her life that we may have been denied had she lived to see the book through to publication. A very young divorcee from Chicago, she opened her own gallery during the depression and went on to become a tour de force in procuring a huge swath of the modern collection of the Art Institute. And then, having been frustrated by the Board of Trustees one too many times, she moved to New York and became an art critic for the New Yorker. The fact that she was a polio survivor makes her ascent all the more remarkable.

[Elly Sands · Rating 3 out of 5]

I didn't have high expectations about this book so I was pleasantly pleased. Books like this can be somewhat dry but Katherine's exuberant personality kept it from being that. I enjoyed learning about the distinct personalities of the artists she mentioned. I have always loved Mark Rothko's work but I don't think I'd care for the man. Hans Hoffman's work is wonderful and I know I would have enjoyed his company. Although I admire Edward Hopper's art the man would drive me crazy with his stiffness. Katherine knew a lot of artists and had total appreciation for their work. An informative easy to read book if you want to learn more about modern art.

[Sarah left GR]

For the Art Institute book club. Their description:

This memoir by the Art Institute's first curator of modern painting and sculpture offers a behind-the-scenes peek of the art world. Perfect if you like: biographies, local history, or gossip columns.

I like both local history and gossip. Sign me up!

Discussion guide (in PDF) is here:
http://www.artic.edu/aic/members_dono...

[lynn · Rating 2 out of 5]

After touring the Art Inst's new modern wing, I'm determined to learn more about modern art. Katherine Kuh, an early devotee of modern art, led a fascinating life while championing artists and their works. She can drop in a story about her evening with Mies van der Rohe or any of a dozen famous artists without batting an eye.This book was covered in the Between the Lions book club offered at the Art Inst.

[John Seed · Rating 4 out of 5]

I enjoyed reading Katharine Kuh's insightful recollections of a diverse selection of modern artists. Some of them -- Mark Tobey, and Alfred Jensen -- were relatively new to me, while others such as Mark Rothko and Edward Hopper have been written about by others. Kuh was a pioneer, and her book is valuable for anyone wanting to understand the difficulties faced by modern artists in the 30s, 40s and 50s. Intelligently written, and bit old-fashioned, but in a good way.

[Rose · Rating 3 out of 5]

Katharine Kuh's memoir, completed by Avis Berman, is interesting because of Kuh's interactions and relationships with modern artists in the 1940s and 50s. However, it could have been better written, and it could have been more tightly structured and less repetitive (too much focus on Mark Rothko when other artists were purportedly the subject).

[Tara · Rating 5 out of 5]

This book tells the story of the aquisition of the Modern Art collection at the Art Institute of Chicago. Good inside information on art world legends. ... its like old school, art gossip told through the eyes of a very respectable, legendary curator.

[Adrienne · Rating 2 out of 5]

I found this book quite dull and skipped a few chapters because they weren't holding my interest. I didn't feel like she offered much insight on the work and her interactions with the artists were not that intriguing either. I was definitely disappointed.

[George · Rating 4 out of 5]

loved it...

[Jen Lee-Olmstead · Rating 4 out of 5]

What a life! Don't read it for the writing; read it for the stories of Kuh's meetings with modern art greats, of which there are many.