Kuper’s generically left politics sometimes dull his arresting images, but his stylistic inventiveness and sophistication...
Collecting work from the entire career, beginning back in the mid-1980s, of illustrator, cartoonist, and narrative artist Kuper (Mind’s Eye, 2000, etc.), this full-color anthology displays a range and richness of design that places him among the best graphic artists of his time: innovative, insightful, and always compelling. Kuper has experimented with all kinds of media—watercolor, spray-paint, markers, pastels, scratchboard, you name it—and his stencil-cut illustrations have become a signature style. His dead-on images appear in mainstream publications (Time, the New York Times, and New York), as well as in smaller magazines in synch with his own left-wing sympathies, including World War 3, of which he’s coeditor. His black-and-white work, with its woodcut look, gives the proper tone to his elegy for the last New York checker cab and to many other gritty cityscapes. A master of single images, Kuper also takes up the challenge of visual narrative in numerous politically charged pieces about nuclear and environmental disaster. He chronicles his globetrotting in autobiographical comics very much in the ’90s grain. And his adaptation of Upton Sinclair’s The Jungle suggests how a revitalized Classics Illustrated should look. Kuper also offers the rough work to some of his art, including the various stages of a Time magazine cover. His reverse paintings on framed windows are a truly unexpected pleasure, as are his recent contributions to Mad’s “Spy v. Spy,” which prove that he’s certainly no snob.
Kuper’s generically left politics sometimes dull his arresting images, but his stylistic inventiveness and sophistication make this an essential collection for students of graphic narrative and design.Pub Date: May 1, 2001
ISBN: 1-891830-14-7
Page Count: 112
Publisher: Top Shelf Productions
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2001
A vital, visually stunning photographic volume.
A conservationist and art photographer explores the erotic aspects of trees.
For more than 20 years, Arbor has been creating intimate photos of trees and people together. The humans, which include herself and others, are nearly always nude, and the folds and curves of their bodies harmonize with the sinew of the trees. In one, the author prostrates herself, as if on an altar, along a platform at the base of a 285-foot mountain ash; in others, she reclines on a willow that appears as though it’s bending to drink at a nearby pool or nestles in the crook of a windblown Cyprus, the curve of her back in perfect accord with the outermost bough’s lurch to the left. In one black-and-white photo, she molds herself to the basal furl of an enormous fig tree, pressing her palms and her cheek against its bark, looking like something from the pages of Ovid’s Metamorphosis. “For tens of thousands of years,” she writes, “people took refuge under trees, held council under trees, and depended upon trees for survival.” Indeed, from even earlier. Anyone perusing Arbor’s book can’t help but feel eerily reminded of humanity’s distant ancestors—the earliest hominids—and how some of them would have lived nearly their whole lives in the vanished oaks and beeches of the Pliocene (“we lived in kinship with them,” she achingly writes of that forgotten past). Sometimes the models’ fetal poses in the trees drift toward the sentimental, à la Anne Geddes’ work, and some readers may be amused by the fact that sometimes the models are difficult to locate, bringing to mind Where’s Waldo? But such levity isn’t unwelcome, and it serves only to intensify the fact that humans can appear eerily camouflaged in nature. Fortunately, Arbor has a remarkable eye for how light and shadow shape the viewer’s experience of texture, and some pictures are every bit as powerful and haunting as Edward Weston’s images of bell peppers—or, for that matter, of trees. Forest giants from Tasmania to South Africa to Anatolia have never seemed so alive.
A vital, visually stunning photographic volume.Pub Date: Jan. 15, 2017
ISBN: 978-0-692-72604-4
Page Count: 200
Publisher: TreeGirl Studios LLC
Review Posted Online: July 20, 2017
Kirkus Reviews Issue: Sept. 1, 2017
Review Program: Kirkus Indie
Dead white male George Santayana finds himself quoted more than once in this comprehensive record of feminist art and politics since the '70s. Painfully aware that feminism as an idea has arisen periodically since the Middle Ages but has until now never managed to last for more than a generation, the authors hope that, armed with a knowledge of feminist ``herstory,'' future artists will expand on rather than repeat the work of their predecessors. Representing a wide spectrum of feminist artists and thinkers, the 18 contributors to this impressive historical reference book include prominent women such as art historians Linda Nochlin and Arlene Raven and painter Miriam Schapiro. The book, edited by Broude and Garrard (both Art History/American Univ.), covers both art and politics, discussing such internationally famous projects as the CalArts student installation Womanhouse, as well as the contemporary activist groups WAC (the Women's Action Coalition) and the Guerrilla Girls. The authors analyze art ranging from Judy Chicago's ``central core'' imagery to lesbian performance pieces, ``great goddess'' imagery, and the pattern and decoration movement. (Le Corbusier once stated, ``There is a hierarchy in the arts: decorative art at the bottom, human form at the top. Because we are men.'') While the work represented here varies greatly in content and quality, all of it stems from what the artists often describe as ``coming to consciousness'' about their oppressed condition. For some artists this seems to have been a powerful, almost ``born again'' experience; for others it was a gradual reorientation of perspective. As this book makes clear, the collective impact of feminist thought on contemporary society has also been significant- -in the early '70s, young art historians studying past women artists discovered that slides of their work did not even exist. However, discrimination still exists: As the Guerrilla Girls' posters reproduced here show, despite a roughly equal gender mix in art schools over the past 20 years, most major galleries still show mostly men. Essential reading for any woman in the arts. (245 illustrations, 118 in color)
Pub Date: Nov. 1, 1994
ISBN: 0-8109-3732-8
Page Count: 320
Publisher: Abrams
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 1994
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