PLAYING WITH THE EDGE

THE PHOTOGRAPHIC ACHIEVEMENT OF ROBERT MAPPLETHORPE

One of our leading postmodern critics captures, in decorous prose, photographer Robert Mapplethorpe's putatively outrageous social and aesthetic vision. As art critic for the Nation, Danto (Philosophy/Columbia Univ.; Embodied Meanings, 1994, etc.) reviewed the now legendary retrospective of Mapplethorpe's work held at the Whitney in 1988, shortly before the photographer's death from AIDS. This appreciative but tentative review (the first to be written of the three included here) serves as a benchmark, showing how far Danto's understanding of Mapplethorpe has traveled since. In an introductory essay, Danto recreates how the Whitney exhibition's ``brilliant syntax'' spoke to him. Coming upon Mapplethorpe's disturbing images unawares, Danto felt that he truly encountered the photographer as he passed through the galleries. Soon thereafter, attacks from the cultural right on exhibitions of his sexually explicit work brought Mapplethorpe posthumous celebrity. Writing a long essay on Mapplethorpe for an art book, Danto came to believe that the photographer ``embodied the seventies in America . . . artistically the most important decade of the century.'' Reprinted here, that essay forms this book's core. Sparse reproductions nail down Danto's points without distracting from his argument. Characterizing Mapplethorpe as ``playing with the edge,'' Danto refers not only to his search for transcendence through transgression, but also to his rigorous delineation of his subjects. This disciplined aesthetic has been denigrated by art world insiders who consider formal accomplishment politically suspect. Having compromised neither his extreme lifestyle nor his artistic ethic, Mapplethorpe was outside the bounds of both mainstream American sexuality and elite cultural taste. Danto's accomplishment here is to suggest how his life and work address the central concerns of both. Incisive and passionate, Danto's testimony makes an important intervention in debates over Mapplethorpe's importance. (31 duotones)

Pub Date: Oct. 1, 1995

ISBN: 0-520-20051-9

Page Count: 208

Publisher: Univ. of California

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 1995

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A beautifully written, pensive, and restorative memoir.

A MONTH IN SIENA

A quiet meditation on art and life.

Matar’s Pulitzer Prize–winning memoir, The Return (2016), was about his Libyan father who was kidnapped in Cairo and taken back, imprisoned, and “gradually, like salt dissolving in water, was made to vanish.” His father’s presence reverberates throughout this thoughtful, sensitive extended essay about the author’s visit to Siena, where he ruminates and reflects on paintings, faith, love, and his wife, Diana. Matar focuses on the 13th- to 15th-century Sienese School of paintings which “stood alone, neither Byzantine nor of the Renaissance, an anomaly between chapters, like the orchestra tuning its strings in the interval,” but he discusses others as well. First, he explores the town, “as intimate as a locket you could wear around your neck and yet as complex as a maze.” Day or night, the “city seemed to be the one determining the pace and direction of my walks.” In the Palazzo Pubblico, Matar scrutinized a series of frescos the “size of a tennis court” painted by Ambrogio Lorenzetti in 1338. As the author writes, his Allegory of Good Government is a “hymn to justice.” Matar astutely describes it in great detail, as he does with all the paintings he viewed. When one is in a despondent mood, paintings, Matar writes, seem to “articulate a feeling of hope.” He also visited a vast cemetery, a “glimpse [of] death’s endless appetite.” Over the month, he talked with a variety of Sienese people, including a Jordanian man whom he befriended. One by one, paintings flow by: Caravaggio’s “curiously tragic” David With the Head of Goliath, Duccio di Buoninsegna’s “epic altarpiece,” Maestà. Mounted onto a cart in 1311, it was paraded through Siena. Along the way, Matar also ponders the metaphysics of rooms and offers a luminous, historical assessment of the Black Death.

A beautifully written, pensive, and restorative memoir.

Pub Date: Oct. 22, 2019

ISBN: 978-0-593-12913-5

Page Count: 144

Publisher: Random House

Review Posted Online: Aug. 28, 2019

Kirkus Reviews Issue: Sept. 15, 2019

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Clear journalistic prose makes sense of the befuddling legal entanglements in an ongoing battle that has become notorious in...

ART HELD HOSTAGE

THE BATTLE OVER THE BARNES COLLECTION

American Lawyer deputy editor Anderson chronicles the legal contests over the administration of America’s largest private art collection.

The author begins with a fair portrait of Dr. Albert C. Barnes, amasser of the famous Barnes Collection and creator of the eponymous foundation charged with its preservation. Barnes received his medical degree at 20 and went on to wrest control of a pharmaceutical company that owned exclusive rights to manufacture an internationally prescribed gonorrhea medicine. (His signature style throughout his life was to hire first-rate legal counsel and pursue his litigious course until he got what he wanted.) Barnes’s fortune, preserved through the Depression, permitted the assembly of a fabulous collection that included 180 Renoirs; it’s currently valued at six billion dollars. Just before his death in 1951, the doctor changed the terms of the foundation’s indenture, granting control to the trustees of Lincoln College, the oldest black college in America, setting the stage for a long round of disputes. While the collection gained tremendously in value over the next four decades, the size of the endowment that paid for the upkeep of the French Renaissance palace that housed it dwindled through mismanagement. In the 1990s, foundation president Richard H. Glanton, a high-profile African-American lawyer, oversaw the galleries’ renovation and undertook the expensive litigation responsible for bringing the foundation to the edge of ruin. Anderson describes these conflicts in a work that by his own admission is “a legal tale” rather than a scholarly biography or a work of art history. The absence of footnotes, he explains, springs from the desire of his best sources to remain anonymous. That’s not surprising, considering the rancor all this legal wrangling has generated, including a lawsuit over a parking lot instituted in federal court that invoked the Ku Klux Klan Act.

Clear journalistic prose makes sense of the befuddling legal entanglements in an ongoing battle that has become notorious in the art world and beyond. (16 illustrations)

Pub Date: May 1, 2003

ISBN: 0-393-04889-6

Page Count: 288

Publisher: Norton

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 2003

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