Art Now Volume I brings together the recent work and biographical information for our selection of the 150 most influential artists working at the end of the 20th century. Art Now also includes a sort of service guide, produced in collaboration with The Art Newspaper, which lists museums, restaurants, and hotels we recommend you check out while you're cruising the global art scene, and even gives the scoop on how much one can expect to pay for a Damien Hirst or a Sharon Lockhart and whom to contact if you decide to buy. We also let you know useful details like how many prints Wolfgang Tillmans made for a certain edition and what sorts of sums big players like Koons, Sherman, and Struth bring in at auction. Think of it as an indispensable reference book, travel guide, and art market directory all rolled into one.
The value of this book for me was informing me of today's artists, most of whom are my age more or less.
Again, like the last book, I found the language obscure and pretentious. I learned nothing as to why any of the artists used certain mediums, what they were trying to express through their mediums or what motivated them.
Here's an example of how the artists described their work:
"I want people to feel drenched in time."
"To be defeated, power must be approached, reappropriated (sic) and endlessly replicated."
"Everything must be noticeable for its foulness."
"I once called my pictures post-non-representational painting and later I called them Procrustean painting....I mean being unmerciful with materials."
I mean you can't even make fun of that because the artists are already parodies.
Expected highpoints: the humanity of John Currin and the brilliance of Takashi Murakami.
Surprising highpoints: the modern surreal interpretations of Glenn Brown, the perceptions of reality and our culture from the uncommon viewpoint of Andreas Gursky, and what I call the aboriginally-influenced work of Chris Ofili.