A critic offers encouraging words for viewers baffled by contemporary art.
An artist, teacher, and art critic for the Wall Street Journal, Esplund (Thornton Willis, 2011, etc.) is sympathetic to the challenges faced by visitors to museums and galleries who may encounter a man’s hairy leg protruding from a white wall at floor level or an inflated white balloon attached at the juncture of a gallery’s wall and bluestone floor. “Many people,” he writes, “tell me that they don’t know how to look at art, that they are afraid they are not sophisticated enough and will see or focus on the wrong things, that they will miss what’s important, and that they feel intimidated by art.” In a friendly and conversational tone, Esplund shares his insights honed during a long career. He aims to provide a basic grounding so that viewers begin to trust their own responses and also “begin to think like an artist.” Five chapters provide an overview about the effects of color, form, line, space, weight, rhythm, and structure; an artwork he asserts, “is a living organism” that exudes energy. He cites works by artists as diverse as Leonardo da Vinci, Paul Klee, Barnett Newman, Matisse, Pollock, Giacometti, and Brancusi to make the case that “all artists are poets and that they employ metaphors.” Looking at art is like dancing, where the artist leads the viewer’s eye to “hop and glide from form to form” and to pick up the work’s rhythms and melodies. Esplund urges viewers to draw upon their feelings when approaching an artwork; artists, he writes, “expect that their work will ignite your imagination and emotions as much as your rationality.” In separate chapters, the author focuses on 11 artists whose works may seem impenetrable to the novice viewer—e.g., Balthus’ nude adolescent girls, James Turrell’s disorienting light sculptures, Klee’s metaphor-rich abstractions, Maria Abramovic’s interactive performance pieces, and Robert Gober’s Untitled (Man Coming Out of a Woman), which is a “Frankensteinian sculpture, made of beeswax, human hair, a sock, and a leather shoe.”
An inviting and informative primer.Pub Date: Nov. 27, 2018
ISBN: 978-0-465-09466-0
Page Count: 288
Publisher: Basic
Review Posted Online: Sept. 2, 2018
Kirkus Reviews Issue: Sept. 15, 2018
Categories: ART & PHOTOGRAPHY
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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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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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