The lively subject of activist art gets deadening treatment in 12 long, tedious, and repetitive academic essays. Independent curator Felshin characterizes activist art as a ``hybrid'' cultural practice. Beginning in the late 1960s and early '70s, it drew on happenings, conceptual art, and performance art, which it synthesized with the political activism of counterculture groups. Later, in the 1980s and early '90s, it was informed by feminist art and postmodernism. The postmodernist breakdown of traditional art categories and fascination with the media have supplied a particularly relevant strategy for activist artists, whose ambition literally has been to merge art and life in works with a political message. Much (though not all) activist art is collaborative and de-emphasizes the role of the individual artist. Each essay in this volume profiles, in endless detail, a particular artist or collaborative group. While individual articles have merit, as a whole they are problematic. Aside from being either celebratory or polemical, they often overlap, documenting what soon becomes repetitive information on artistic agendas, social context, and historical sources. Jan Avgikos, writing on Group Material, and Eleanor Heartney on Helen and Newton Harrison's ecology-oriented art are among the few who actually tackle head on the question ``But is it art?'' Other noteworthy essays include Elizabeth Hess on the Guerrilla Girls, Tracy Ann Essoglou with an insider's view of WAC (Women's Action Coalition), and Jeff Kelley on Suzanne Lacy. It gradually becomes evident that collaborative groups (including the Guerrilla Girls, WAC, Gran Fury, Group Material) tend to fizzle out, while individual artists (Lacy, Peggy Diggs, Mierle Laderman Ukeles) and team players (the Harrisons, Carole CondÇ and Karl Beveridge) seem to endure. Although it contains valuable historical material on a significant art practice, this book will probably only be read by the small, insular art audience that many of the activist artists have tried to move beyond.
Pub Date: Feb. 1, 1995
ISBN: 0-941920-29-1
Page Count: 417
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1994
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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