THE LURE OF THE LOCAL

SENSES OF PLACE IN A MULTICENTERED SOCIETY

A discursive look at the ongoing transformation of the American landscape. Art critic Lippard (Mixed Blessings, not reviewed, etc.) posits that Americans are rapidly losing their sense of place and their local loyalties as a result of the country's fin-de-siäcle homogenization, courtesy of look-alike Walmarts and McDonald's, strip malls and housing developments, and thanks as well to hybrid cultural styles that see a new Trump luxury hotel in downtown New York augured in by practitioners of the Chinese art of feng shui, or geomancy. Lippard writes with undisguised nostalgia for a different, more historically aware America; at the top of each text page runs a journal of her life in the little town of Georgetown, Me., where such virtues presumably still obtain. Recognizing that regionalism is a cultural invention and as such somewhat artificial, she explores the possibilities for place-based public art that ``has both roots and reach'' and that honors local history and mores. She also looks into the prospects for preserving that older, idiomatic, vernacular America while allowing that, given their druthers, most people would often rather build for the future than maintain the past. (Only lack of money keeps them from doing so, she writes, quoting a colleague who observes that ``poverty is a wonderful preservative of the past.'') Some of her themes—for instance, ``alienated displacement'' and ``the possibility of a multicentered society,'' whatever that is—grow a little wearisome as they are repeated throughout the text. But on the whole Lippard's narrative is interesting and thoughtful, and her critiques are often delightfully acidic, especially when she deals with enervating planned suburbs and gated communities and the monstrosities that pass for public art today. The more than 150 illustrations in color and black-and-white complement and extend her discussion very nicely. A solid contribution to popular geography.

Pub Date: Aug. 1, 1997

ISBN: 1-56584-247-2

Page Count: 320

Publisher: The New Press

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 1, 1997

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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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