This frank but flawed dual biography of Alfred Stieglitz, photographer, art dealer, impresario, and Georgia O'Keeffe, painter, from their meeting in 1916 to their deaths (he in 1946, she in 1986) reveals along the way the development of photography as an art form, the experience of a woman artist, and much about the studios, galleries, life style, and politics of the artistic communities in N.Y.C. and Taos in the early decades of the 20th century. Mostly, however, Eisler (Private Lives, 1986) explores the psychopathology of two intense, talented, ambitious, creative, and sexually liberated people. More a mutual exploitation—a ``collusion,'' as Eisler concedes in the last chapter—than a ``romance,'' this was an unlikely pairing. Stieglitz, short, spoiled, argumentative, a married Jewish intellectual 23 years O'Keeffe's senior, possibly a pedophile, sexually confused at the least, consecrated their relationship with a series of pornographic photos described here in considerable detail and interpreted variously as ``cunt worship'' and ``a canticle...to sexual mystery.'' Often sickly and depressed, eventually O'Keeffe found her own idiom—the giant flowers and fruits, the landscapes of Lake George where she and Stieglitz summered, even the skulls and bones she did in Taos, where she took refuge in her later years,—all interpreted sexually by reviewers however much she objected. Friends such as Sherwood Anderson, Jean Toomer, and Mabel Dodge, as well as wealthy patrons, were attracted by the couple's charm, talent, and the illusion of power, but many were alienated by their volatile nature and often scandalous sexual experimentation. For a book about visual arts, this is curiously out of focus. Eisler summarizes primary sources and major events, but also quotes minor reviews, introduces minor figures with full bios but little function in the major lives, and—in spite of the coda quoted from O'Keeffe, ``Art is a wicked thing. It is what we are''—shows only occasional relationship between the ``wicked'' art and the lives.

Pub Date: May 1, 1991

ISBN: 0-385-26122-5

Page Count: 560

Publisher: Doubleday

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 1991

Did you like this book?

No Comments Yet

A dazzling visual homage to a music icon gone too soon.


A Los Angeles–based photographer pays tribute to a legendary musician with anecdotes and previously unseen images collected from their 25-year collaboration.

St. Nicholas (co-author: Whitney: Tribute to an Icon, 2012, etc.) first met Prince in 1991 at a prearranged photo shoot. “The dance between photographer and subject carried us away into hours of inspired photographs…and the beginning of a friendship that would last a lifetime.” In this book, the author fondly remembers their many professional encounters in the 25 years that followed. Many would be portrait sessions but done on impulse, like those in a burned-out Los Angeles building in 1994 and on the Charles Bridge in Prague in 2007. Both times, the author and Prince came together through serendipity to create playfully expressive images that came to represent the singer’s “unorthodox ability to truly live life in the moment.” Other encounters took place while Prince was performing at Paisley Park, his Minneapolis studio, or at venues in LA, New York, Tokyo, and London. One in particular came about after the 1991 release of Prince’s Diamonds and Pearls album and led to the start of St. Nicholas’ career as a video director. Prince, who nurtured young artists throughout his career, pushed the author to “trust my instincts…expand myself creatively.” What is most striking about even the most intimate of these photographs—even those shot with Mayte Garcia, the fan-turned–backup dancer who became Prince’s wife in 1996—is the brilliantly theatrical quality of the images. As the author observes, the singer was never not the self-conscious artist: “Prince was Prince 24/7.” Nostalgic and reverential, this book—the second St. Nicholas produced with/for Prince—is a celebration of friendship and artistry. Prince fans are sure to appreciate the book, and those interested in art photography will also find the collection highly appealing.

A dazzling visual homage to a music icon gone too soon.

Pub Date: Nov. 19, 2019

ISBN: 978-0-06-293923-4

Page Count: 384

Publisher: Amistad/HarperCollins

Review Posted Online: July 28, 2019

Kirkus Reviews Issue: Aug. 15, 2019

Did you like this book?

A succinct, passionate guide to fostering creativity.


A noted critic advises us to dance to the music of art.

Senior art critic at New York Magazine and winner of the 2018 Pulitzer Prize in Criticism, Saltz (Seeing Out Louder, 2009, etc.) became a writer only after a decadeslong battle with “demons who preached defeat.” Hoping to spare others the struggle that he experienced, he offers ebullient, practical, and wise counsel to those who wonder, “How can I be an artist?” and who “take that leap of faith to rise above the cacophony of external messages and internal fears.” In a slim volume profusely illustrated with works by a wide range of artists, Saltz encourages readers to think, work, and see like an artist. He urges would-be artists to hone their power of perception: “Looking hard isn’t just about looking long; it’s about allowing yourself to be rapt.” Looking hard yields rich sources of visual interest and also illuminates “the mysteries of your taste and eye.” The author urges artists to work consistently and early, “within the first two hours of the day,” before “the pesky demons of daily life” exert their negative influence. Thoughtful exercises underscore his assertions. To get readers thinking about genre and convention, for example, Saltz presents illustrations of nudes by artists including Goya, Matisse, Florine Stettheimer, and Manet. “Forget the subject matter,” he writes, “what is each of these paintings actually saying?” One exercise instructs readers to make a simple drawing and then remake it in an entirely different style: Egyptian, Chinese ink-drawing, cave painting, and the styles of other artists, like Keith Haring and Georgia O’Keeffe. Freely experiment with “different sizes, tools, materials, subjects, anything,” he writes. “Don’t resist something if you’re afraid it’s taking you far afield of your usual direction. That’s the wild animal in you, feeding.” Although much of his advice is pertinent to amateur artists, Saltz also rings in on how to navigate the art world, compose an artist’s statement, deal with rejection, find a community of artists, and beat back demons. Above all, he advises, “Work, Work, Work.”

A succinct, passionate guide to fostering creativity.

Pub Date: March 17, 2020

ISBN: 978-0-593-08646-9

Page Count: 144

Publisher: Riverhead

Review Posted Online: Nov. 5, 2019

Kirkus Reviews Issue: Dec. 1, 2019

Did you like this book?

No Comments Yet