Centrifugal and sometimes hard to follow but always interesting, tracing the intersection of art, the environment, geography...

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UNDERMINING

A WILD RIDE IN WORDS AND IMAGES THROUGH LAND USE POLITICS IN THE CHANGING WEST

Art historian and social critic Lippard (On the Beaten Track: Tourism, Art, and Place, 1999, etc.) turns in another trademark work of inductive cultural tourism.

Many of Lippard’s books are a blend of discourse and art installation, at least after a fashion. This is no exception: On each page, a band of images speaks to the text below. That text, in turn, begins with an intensely local concern, namely, a gravel pit near her high desert home. Strap on postmodern headgear: “Gravel pits,” writes the author, “provide a dialectical take on the relationship between my own three-and-a-half decades in the Lower Manhattan activist/avant-garde art community and two decades in Galisteo—a tiny New Mexico village (population 250).” Though the text is often self-indulgent along those lines, Lippard allows that just about everywhere you look in the Southwest, you’ll find someone extracting something from the Earth, and that someone may be ever so slightly better, morally speaking, than the next someone. There are gravel pits, and then there are mines, including “the world’s largest surface coal mine complex” in eastern Wyoming. From mines, with transitions that are a little jagged, Lippard moves on to the Earth artists of the West, such as Robert Smithson and James Turrell. Though the connections are not always clear, her eventual meditation on the cairn marking the Trinity nuclear site puts us back on the road from piled stones to stones in gravel pits, and if the conversation is absent-minded, it is nicely suggestive of things worth thinking about, such as the remnants of 9/11 that now lie buried in the Fresh Kills landfill of Staten Island. Art, garbage, history? Readers must be the judges.

Centrifugal and sometimes hard to follow but always interesting, tracing the intersection of art, the environment, geography and politics.

Pub Date: April 15, 2014

ISBN: 978-1-59558-619-3

Page Count: 240

Publisher: The New Press

Review Posted Online: Feb. 17, 2014

Kirkus Reviews Issue: March 1, 2014

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

MY NAME IS PRINCE

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

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A succinct, passionate guide to fostering creativity.

HOW TO BE AN ARTIST

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

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