Fertile, probing responses to the transformative power of art.




An eminent scholar and critic collects her essays from 30 years of writing about art.

President of the Royal Society of Literature and winner of the National Book Critics Circle Award for Criticism, Warner (Fairy Tale: A Very Short Introduction, 2018, etc.) brings her capacious knowledge of myth, fairy tale, aesthetics, religion, and literature to these erudite and luminous essays on art and artists. Previously published between the 1980s and 2017, the essays fall into four sections: “Playing in the Dark,” which examines connections to child’s play in the works of artists such as Paula Rego and Kiki Smith; “Bodies of Sense,” focused on how bodies become “theme and instrument” for five artists who investigate their own “teeth, hair, feet, skin, blood, semen, sweat” as “the principal arena of debate and the chief subject of representation”; “Spectral Technologies,” which considers artists’ “desire to capture mental images beyond empirical experience”; and “Iconclashes,” which examines artists as diverse as Hieronymus Bosch and Damien Hirst, whose work speaks to the “struggle over images today: over what they mean, how we interact with them and why they matter so much.” Warner sees art criticism as an aesthetic project in its own right, not merely “an accompaniment, as a pianist plays for a singer.” When writing about artists, “I try to unite my imagination with theirs, in an act of absorption that corresponds to the pleasure of looking at art.” She succeeds impressively. In a sensitive appraisal of Felicity Powell, whose art includes iconoclastic medallions, Warner describes Powell as “elegant, thoughtful, fascinating,” with “an unusual and poetic imagination and great curiosity about lesser-known corners of mythology and art.” That description could apply to Warner’s writing, whether she’s discussing Louise Bourgeois’ decapitated nudes and aggressively maternal spiders; Smith’s astonishing “inverse paradise” and “creaturely empathy”; Sigmar Polke’s interest in materials’ “capacity for transformation, their powers to poison and heal”; or her disappointment in Hirst’s art, which has “too many comprehensible metaphors with no outer rings of mystery and resonance.”

Fertile, probing responses to the transformative power of art.

Pub Date: Oct. 2, 2018

ISBN: 978-0-500-02146-0

Page Count: 288

Publisher: Thames & Hudson

Review Posted Online: June 18, 2018

Kirkus Reviews Issue: July 1, 2018

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



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 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

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