An enlightening history of the later, transatlantic phase of the Surrealist movement (19381947), which, when caught in the throes of WW II, inadvertently came in close contact with a new generation of vanguard American painters. The influence of the Surrealist painters on the burgeoning Abstract Expressionist movement is one of the commonplaces of art history. Standard histories of art tell the story of the exiled Surrealists who, having fled war-torn Europe in the 1940s, arrived in the US and proceeded to spoon-feed the fledgling American painters a steady diet of Freud, Jung, and automatic painting, imparting to them, as well, a taste for the irrational and an interest in nontraditional art. The role of the Surrealists is generally seen as having been instrumental in bringing about the so-called ``triumph of American painting.'' Art historian and critic Sawin investigates this exciting yet grossly mythologized era of cultural cross-fertilization. Taking a documentary approach, she charts the course of the Surrealists' activities, simultaneously keeping us informed of events on both sides of the Atlantic. She also provides new information on the nature of the European/American connection, suggesting, for example, that the Surrealist influence on vanguard American painting was not merely an aesthetic one. As she points out, the Surrealist movement had a literary and political agenda in addition to a visual one. From the Surrealist presence in New York, American artists learned to negotiate the entire art machine, learning as much about the promotion of art as about its production, and made some critical art world connections. Even more momentous was WW II itself, an event that rendered Surrealism obsolete while lending a certain gravity to the new American painting. A first-rate cultural history, of interest to both the art historian and the general reader. (245 illustrations, not seen)
Pub Date: Oct. 1, 1995
ISBN: 0-262-19360-4
Page Count: 460
Publisher: MIT Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 1995
A zesty, energetic history, not only of a building, but of more than a century of American culture.
A revealing biography of the fabled Manhattan hotel, in which generations of artists and writers found a haven.
Turn-of-the century New York did not lack either hotels or apartment buildings, writes Tippins (February House: The Story of W. H. Auden, Carson McCullers, Jane and Paul Bowles, Benjamin Britten, and Gypsy Rose Lee, Under One Roof In Wartime America, 2005). But the Chelsea Hotel, from its very inception, was different. Architect Philip Hubert intended the elegantly designed Chelsea Association Building to reflect the utopian ideals of Charles Fourier, offering every amenity conducive to cooperative living: public spaces and gardens, a dining room, artists’ studios, and 80 apartments suitable for an economically diverse population of single workers, young couples, small families and wealthy residents who otherwise might choose to live in a private brownstone. Hubert especially wanted to attract creative types and made sure the building’s walls were extra thick so that each apartment was quiet enough for concentration. William Dean Howells, Edgar Lee Masters and artist John Sloan were early residents. Their friends (Mark Twain, for one) greeted one another in eight-foot-wide hallways intended for conversations. In its early years, the Chelsea quickly became legendary. By the 1930s, though, financial straits resulted in a “down-at-heel, bohemian atmosphere.” Later, with hard-drinking residents like Dylan Thomas and Brendan Behan, the ambience could be raucous. Arthur Miller scorned his free-wheeling, drug-taking, boozy neighbors, admitting, though, that the “great advantage” to living there “was that no one gave a damn what anyone else chose to do sexually.” No one passed judgment on creativity, either. But the art was not what made the Chelsea famous; its residents did. Allen Ginsberg, Bob Dylan, Andy Warhol, Janis Joplin, Leonard Cohen, Robert Mapplethorpe, Phil Ochs and Sid Vicious are only a few of the figures populating this entertaining book.
A zesty, energetic history, not only of a building, but of more than a century of American culture.Pub Date: Dec. 3, 2013
ISBN: 978-0-618-72634-9
Page Count: 448
Publisher: Houghton Mifflin Harcourt
Review Posted Online: Sept. 18, 2013
Kirkus Reviews Issue: Oct. 1, 2013
BOOK REVIEW
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 27, 2015
Kirkus Reviews Issue: Aug. 15, 2015
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