The complete last essays of acclaimed writer Peter Schjeldahl, the great New Yorker art critic and Pulitzer Prize finalist. Foreword by Steve Martin Introduction by Jarrett Earnest When the New Yorker art critic Peter Schjeldahl published his widely read autobiographical essay “The Art of Dying” in December 2019, he reported that he had lung cancer and his oncologist had given him six months to live, but his experimental treatment was showing some improvement. “These extra months,” he wrote, “are a luxury that I hope to have put to good use.” And he did. The Art of Dying: Writings, 2019-2022 begins with that essay and collects all 46 pieces that he wrote for the magazine before his death in October 2022. These last works express Schjeldahl’s hard-won reflections on art and life, against the backdrop of an intensely anxious period in America, spanning the pandemic, the George Floyd protests, the 2020 presidential election, and the war in Ukraine. Schjeldahl, who was the leading art writer of his generation, wrote with generosity and openness about the art world during these tempestuous three years.
Hot Cold Heavy Light collects 100 writings—some long, some short—that taken together forma group portrait of many of the world’s most significant and interesting artists. From Pablo Picasso to Cindy Sherman, Old Masters to contemporary masters, paintings to comix, and saints to charlatans, Schjeldahl ranges widely through the diverse and confusing art world, an expert guide to a dazzling scene. No other writer enhances the reader’s experience of art in precise, jargon-free prose as Schjeldahl does. His reviews are more essay than criticism, and he offers engaging and informative accounts of artists and their work. For more than three decades, he has written about art with Emersonian openness and clarity. A fresh perspective, an unexpected connection, a lucid gloss on a big idea awaits the reader on every page of this big, absorbing, buzzing book.
Baudelaire's famous description of "the best criticism" as "entertaining and poetic, not coldly analytic," lives in the essays of Peter Schjeldahl. Schjeldahl self-consciously continues the modern tradition of art criticism crafted by poet-critics, providing a sharp perspective on individual artists, their work, art-world events, and new creative directions. He challenges established views, and his infectious passion for art continually engages the reader. In essays on Rothko, Munch, Warhol, Dubuffet, Nauman, Sherman, Salle, de Kooning, Guston, Ruscha, and Koons, Schjeldahl skillfully juggles theory and analysis in exploring cultural context and technique. His writings, free of the contortions of some critical prose and characterized by a sustained focus on works of art, map the contemporary art scene in New York (with occasional forays to Los Angeles and elsewhere), cataloguing the colorful personalities, cultural attractions, and ethical hazards of the art world. It's a fast, fun trip, with arguments that fold back upon themselves in surprising revelations and reversals of the author's opinion. There is never a dull moment for those with an eye on contemporary art.
The complete last essays of acclaimed writer Peter Schjeldahl, the great New Yorker art critic and Pulitzer Prize finalist. Foreword by Steve Martin Introduction by Jarrett Earnest When the New Yorker art critic Peter Schjeldahl published his widely read autobiographical essay “The Art of Dying” in December 2019, he reported that he had lung cancer and his oncologist had given him six months to live, but his experimental treatment was showing some improvement. “These extra months,” he wrote, “are a luxury that I hope to have put to good use.” And he did. The Art of Dying: Writings, 2019-2022 begins with that essay and collects all 46 pieces that he wrote for the magazine before his death in October 2022. These last works express Schjeldahl’s hard-won reflections on art and life, against the backdrop of an intensely anxious period in America, spanning the pandemic, the George Floyd protests, the 2020 presidential election, and the war in Ukraine. Schjeldahl, who was the leading art writer of his generation, wrote with generosity and openness about the art world during these tempestuous three years.
Baudelaire's famous description of "the best criticism" as "entertaining and poetic, not coldly analytic," lives in the essays of Peter Schjeldahl. Schjeldahl self-consciously continues the modern tradition of art criticism crafted by poet-critics, providing a sharp perspective on individual artists, their work, art-world events, and new creative directions. He challenges established views, and his infectious passion for art continually engages the reader. In essays on Rothko, Munch, Warhol, Dubuffet, Nauman, Sherman, Salle, de Kooning, Guston, Ruscha, and Koons, Schjeldahl skillfully juggles theory and analysis in exploring cultural context and technique. His writings, free of the contortions of some critical prose and characterized by a sustained focus on works of art, map the contemporary art scene in New York (with occasional forays to Los Angeles and elsewhere), cataloguing the colorful personalities, cultural attractions, and ethical hazards of the art world. It's a fast, fun trip, with arguments that fold back upon themselves in surprising revelations and reversals of the author's opinion. There is never a dull moment for those with an eye on contemporary art.
Hot Cold Heavy Light collects 100 writings—some long, some short—that taken together forma group portrait of many of the world’s most significant and interesting artists. From Pablo Picasso to Cindy Sherman, Old Masters to contemporary masters, paintings to comix, and saints to charlatans, Schjeldahl ranges widely through the diverse and confusing art world, an expert guide to a dazzling scene. No other writer enhances the reader’s experience of art in precise, jargon-free prose as Schjeldahl does. His reviews are more essay than criticism, and he offers engaging and informative accounts of artists and their work. For more than three decades, he has written about art with Emersonian openness and clarity. A fresh perspective, an unexpected connection, a lucid gloss on a big idea awaits the reader on every page of this big, absorbing, buzzing book.
The 76 columns, short reviews, and articles here (many of them abridged by me) are most of what I wrote for 7 Days.... a running chronicle of the art life of a specific period in New York."--Preface.
In a world where nearly everyone has a cellphone camera capable of zapping countless instant photos, it can be a challenge to remember just how special and transformative Polaroid photography was in its day. And yet, there’s still something magical for those of us who recall waiting for a Polaroid picture to develop. Writing in the context of two Polaroid Corporation bankruptcies, not to mention the obsolescence of its film, Peter Buse argues that Polaroid was, and is, distinguished by its process—by the fact that, as the New York Times put it in 1947, “the camera does the rest.” Polaroid was often dismissed as a toy, but Buse takes it seriously, showing how it encouraged photographic play as well as new forms of artistic practice. Drawing on unprecedented access to the archives of the Polaroid Corporation, Buse reveals Polaroid as photography at its most intimate, where the photographer, photograph, and subject sit in close proximity in both time and space—making Polaroid not only the perfect party camera but also the tool for frankly salacious pictures taking. Along the way, Buse tells the story of the Polaroid Corporation and its ultimately doomed hard-copy wager against the rising tide of digital imaging technology. He explores the continuities and the differences between Polaroid and digital, reflecting on what Polaroid can tell us about how we snap photos today. Richly illustrated, The Camera Does the Rest will delight historians, art critics, analog fanatics, photographers, and all those who miss the thrill of waiting to see what develops.
Schjeldahl provides a sharp perspective on individual artists, their work, art-world events and ethics, and new, creative directions. Above all, he challenges established views, infecting readers with his passion for art. "To read Schjeldahl is not to agree or disagree, but rather to enter the enchanting flow of a fertile imagination".--Art in America. (HC:1991)
This book explores a new interpretation of Andy Warhol's The Last Supper Series. It brings together two worlds, the sacred and the secular. By showing how the sacred is manifest in advertising, it demonstrates the metaphorical power of popular imagery. Warhol bore out the proposition that an artist is essentially a "Yours faithfully". The essence of his Last Supper series lies in the mystery that should remain so: 'mirari non rimari sapientia vera est'. To scrutinize the host would be unfaithful to Christ, who said: "This is my Body". To perceive Warhol's work as simply signifying itself would be unfaithful to America's most influential artist. A case in point is The Last Supper (Dove): pictorial analysis proves that Leonardo's Il Cenacolo was not robbed of its sublimity. Warhol remained faithful to it as a means of unveiling the holy.
Why does a highly skilled and highly trained sculptor, the master of every style and technique, insist on working in the style of the Italian Renaissance? The answer is that to Dabro, every sculpture must speak to humanity, which means that it must be an element of humanity. If it does not, the sculptor has failed. Working with female models throughout his long life, he has sought to portray an essence of femininity, and therefore an essence of humanity. Ante Dabro believes that the ability to see what other people don’t see is a real gift. He says, ‘It’s like a star wheeling round the earth, fertilising the imagination as it goes.’ This book explores the different ways he has liberated an essence of humanity by releasing the soul of a human form from its imprisoning substance, whether it be from wood, marble, stone or plaster. The author, one of Australia’s best known historians and biographers, like Dabro, wants our imaginations to soar and rejoice in the creative spirit which has driven his sculptures for more than 60years.
Expanding Authorship collects important essays by Peter Middleton that show the many ways in which, in a world of proliferating communications media, poetry-making is increasingly the work of agencies extending beyond that of a single, identifiable author. In four sections--Sound, Communities, Collaboration, and Complexity--Middleton demonstrates that this changing situation of poetry requires new understandings of the variations of authorship. He explores the internal divisions of lyric subjectivity, the vicissitudes of coauthorship and poetry networks, the creative role of editors and anthologists, and the ways in which the long poem can reveal the outer limits of authorship. Readers and scholars of Wallace Stevens, William Carlos Williams, George Oppen, Frank O'Hara, Robert Duncan, Robert Creeley, Jerome Rothenberg, Susan Howe, Lyn Hejinian, Nathaniel Mackey, and Rae Armantrout will find much to learn and enjoy in this groundbreaking volume.
An essential text in the field of contemporary art history, it has now been updated to represent 30 countries and over 100 new artists. The internationalism evident in this revised edition reflects the growing interest in contemporary art throughout the world from the U.S. and Europe to the Middle East, Asia, Africa, Latin America, and Australia.
Originally arriving in Hollywood to pursue an acting career, James Bridges went on to write and direct such popular films as The Paper Chase, The China Syndrome and Urban Cowboy. This book tells the story of his life and career, helped by new interviews with friends and collaborators; it also offers a detailed analysis of each of Bridges' eight feature films, including his lesser-known cult classics September 30, 1955 and Mike's Murder.
This book teaches Baroque compositional techniques through writing and improvisation exercises and analysis of repertoire examples. It provides readers with a historical outlook by focusing largely on principles taught in treatises from the period 1680–1780. This expanded edition includes new sections with keyboard exercises that provide training in Partimento performance as it was practiced at the time, helping students master Baroque style from the inside. While the focus of the book is on fugue, it also treats chorale preludes, stylized dances, inventions, and trio sonatas. The volume is divided into two parts—basic and advanced— which could be taught in a two-semester sequence. There are various options to introduce material from Part II into Part I for a one-semester course.
In Kindle Fire: The Missing Manual, digital media expert Peter Meyers helps you master Amazon's new HD tablet models. The Kindle Fire lets you enjoy all of your Amazon books, movies, and magazines in full color along with speedy web browsing, email, and games. Loaded with color illustrations, the new edition of this entertaining guide includes an all-new chapter on social media, Skype, and video chat. This book shows you how to: Use the Kindle Fire HD's great new features, including 10-finger touch Learn more about the book or movie you're enjoying with Amazon's exclusive X-Ray feature Video chat using the front-facing camera Set limits on what your kids can do on the Kindle Fire—and for how long Get Wi-Fi access when and where you need it Manage your Amazon digital media library Find and install the apps that work best on the Kindle Fire Manage your Gmail, Yahoo mail, and other email accounts in one convenient app Troubleshoot the Kindle Fire
Power, Image, and Memory examines how leaders and societies have used works of art commemorating historical events to shape collective memory. Through iconic artworks over centuries and across the globe, it explores the power of art to affirm cultural identities and thereby mold social groups and nations.
This is the first book on a quintessential California artist who for over three decades has been an active force in shaping the art and culture of the West, from cast-resin sculpture, through sunset, ocean and airport images, to recent Las Vegas paintings.
The story of how the movies assumed a gritty facade in the name of authenticity, with working actors transforming into artists, poets, painters, troubadours, and filmmakers—both on- and off-screen. This is the tale of how Hollywood, inspired by the success of Easy Rider, sold a cycle of films as the new dirty real. Dennis Hopper, Peter Fonda, Monte Hellman, Jack Nicholson, Kris Kristofferson, and Sam Peckinpah, among others, parlayed a nostalgia for the gutter and donned bohemian personae, pulling on soiled shirts and scuffed boots to better counter the glamour and phoniness of Tinseltown. The result was a generation of movies, including The Hired Hand, Five Easy Pieces, Two-Lane Blacktop, The Last Picture Show, and Pat Garrett and Billy the Kid. With great care for the historical record and displaying a refined critical acuity, Peter Stanfield captures that pivotal moment when Hollywood tried to sell a begrimed vision of itself to the world.
By mid-career, many successful writers have found a groove and their readers come to expect a familiar consistency and fidelity. Not so with Henry Green (1905-1973). He prefers uncertainty over reason and fragmentation over cohesion, and rarely lets the reader settle into a nice cozy read. Evil, he suggests, can be as instructive as good. Through Green's use of paradoxical and ambiguous language, his novels bring texture to the flatness of life, making the world seem bigger and closer. We soon stop worrying about what Hitler's bombs have in store for the Londoners of Caught (1943) and Back (1946) and start thinking about what they have in store for each other. Praised in his lifetime as England's top fiction author, Green is largely overlooked today. This book presents a comprehensive analysis of his work for a new generation of readers.
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