Colossal, but a greater focus on artworks and artist summaries would have proved much more valuable.

The Art Lover's Pocket Guide

WHERE TO VIEW THE WORLD'S GREAT MASTERPIECES

More Yellow Pages than pocket guide, this book lists the locations of many of the world’s greatest visual art.

Traverso’s (New Directions in Scheduling the Secondary School, 1983) first foray into art history is a vast index of many of the world’s great artists, primarily focusing on where intrepid travelers can view their works. The format is simple: Each entry, listed alphabetically by the artist’s last name, begins with a brief (typically less than half a page) summary of the artist’s style, media and achievements; then, galleries that hold work by the artist are listed—American galleries by state, followed by international galleries by country. Traverso claims that his criterion for inclusion is not based on judgments about the artist’s greatness but rather the artworks’ “accessibility to the general public,” which allows him to include a huge variety of artists. However, this gauge results in a few notable omissions; for instance, Traverso includes neither Matthias Grünewald nor Jan van Eyck, whose few attributable paintings include several indisputable masterpieces. The criterion becomes even more slippery around more contemporary artists; Jeff Koons has no entry, but Richard Serra does. Still, for anyone looking to fully explore an individual artist’s oeuvre, this work could provide a useful tool for trip planning. If Traverso had included lists of titles under each museum, the book might have provided a fount of information for the aware but selective art lover. For novices, some of the descriptions offer great summations of an artist’s concerns, while others are vague and short. Warhol’s entry, for instance, is only three brief sentences. Despite the enormous, impressive amount of labor this work demanded, its usefulness seems limited, since many readers who wish to see specific works might look to the Internet for answers; however, the locations of some hard-to-find works are provided here.

Colossal, but a greater focus on artworks and artist summaries would have proved much more valuable.

Pub Date: July 23, 2013

ISBN: 978-1-4759-9310-3

Page Count: 900

Publisher: iUniverse

Review Posted Online: Sept. 21, 2016

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A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.

HUMANS OF NEW YORK

STORIES

Photographer and author Stanton returns with a companion volume to Humans of New York (2013), this one with similarly affecting photographs of New Yorkers but also with some tales from his subjects’ mouths.

Readers of the first volume—and followers of the related site on Facebook and elsewhere—will feel immediately at home. The author has continued to photograph the human zoo: folks out in the streets and in the parks, in moods ranging from parade-happy to deep despair. He includes one running feature—“Today in Microfashion,” which shows images of little children dressed up in various arresting ways. He also provides some juxtapositions, images and/or stories that are related somehow. These range from surprising to forced to barely tolerable. One shows a man with a cat on his head and a woman with a large flowered headpiece, another a construction worker proud of his body and, on the facing page, a man in a wheelchair. The emotions course along the entire continuum of human passion: love, broken love, elation, depression, playfulness, argumentativeness, madness, arrogance, humility, pride, frustration, and confusion. We see varieties of the human costume, as well, from formalwear to homeless-wear. A few celebrities appear, President Barack Obama among them. The “stories” range from single-sentence comments and quips and complaints to more lengthy tales (none longer than a couple of pages). People talk about abusive parents, exes, struggles to succeed, addiction and recovery, dramatic failures, and lifelong happiness. Some deliver minirants (a neuroscientist is especially curmudgeonly), and the children often provide the most (often unintended) humor. One little boy with a fishing pole talks about a monster fish. Toward the end, the images seem to lead us toward hope. But then…a final photograph turns the light out once again.

A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.

Pub Date: Oct. 13, 2015

ISBN: 978-1-250-05890-4

Page Count: 432

Publisher: St. Martin's

Review Posted Online: July 28, 2015

Kirkus Reviews Issue: Aug. 15, 2015

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A fascinating, major work that will spark endless debates.

WARHOL

An epic cradle-to-grave biography of the king of pop art from Gopnik (co-author: Warhol Women, 2019), who served as chief art critic for the Washington Post and the art and design critic for Newsweek.

With a hoarder’s zeal, Andy Warhol (1928-1987) collected objects he liked until shopping bags filled entire rooms of his New York town house. Rising to equal that, Gopnik’s dictionary-sized biography has more than 7,000 endnotes in its e-book edition and drew on some 100,000 documents, including datebooks, tax returns, and letters to lovers and dealers. With the cooperation of the Andy Warhol Museum in Pittsburgh, the author serves up fresh details about almost every aspect of Warhol’s life in an immensely enjoyable book that blends snappy writing with careful exegeses of the artist’s influences and techniques. Warhol exploded into view in his mid-40s with his pop art paintings of Campbell’s Soup cans and silkscreens of Elvis and Marilyn. However, fame didn’t banish lifelong anxieties heightened by an assassination attempt that left him so fearful he bought bulletproof eyeglasses. After the pop successes, Gopnik writes, Warhol’s life was shaped by a consuming desire “to climb back onto that cutting edge,” which led him to make experimental films, launch Interview magazine, and promote the Velvet Underground. At the same time, Warhol yearned “for fine, old-fashioned love and coupledom,” a desire thwarted by his shyness and his awkward stance toward his sexuality—“almost but never quite out,” as Gopnik puts it. Although insightful in its interpretations of Warhol’s art, this biography is sure to make waves with its easily challenged claims that Warhol revealed himself early on “as a true rival of all the greats who had come before” and that he and Picasso may now occupy “the top peak of Parnassus, beside Michelangelo and Rembrandt and their fellow geniuses.” Any controversy will certainly befit a lodestar of 20th-century art who believed that “you weren’t doing much of anything as an artist if you weren’t questioning the most fundamental tenets of what art is and what artists can do.”

A fascinating, major work that will spark endless debates.

Pub Date: April 21, 2020

ISBN: 978-0-06-229839-3

Page Count: 976

Publisher: Ecco/HarperCollins

Review Posted Online: Dec. 2, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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