5 comments about Manufactured Landscapes: The Photographs of Edward Burtynsky.

1. Edward Burtynsky is an extremely talented photographer and manages to capture the most dramatic and mysterious of scenes. Extraordinary photographs of some extraordinary subjects.



2. I am a great admirer of Edward Burtynsky - and I will not hide my dissapointment with the book. I've seen an exibition "Manufactured Landscapes" twice, and have to say that reproductions in the album are of a poor quality, not to mention that at least in this particular case size does really matter...
   
   The album is good to have a general idea about the author, his work and his workshop (nice introduction, and interview with Edward Burtynsky - that's what I've missed from the exibitions) but if you haven't seen full-size prints before, do not buy this book - otherwise it might spoil your opinion about one of the best photographers ever...



3. I discovered Ed Burtynsky by chance when waiting for my dentist...
   It was a chock : over its technical knowledge, this guy is capable to find the perfect angle to show what he wants to show !
   
   as we say in France "respect !"



4. the reproductions in the book were awful. i had seen his exhibition and purchased th e book because of it. the reproductions were not any where up to the originals. i am a photographer and the book is useless to me.
   ronald meyerson



5. I viewed the original exhibition at the National Arts Gallery in Ottawa a few years back. The images are breathtaking, unnerving and awe inspiring.

5 comments about The Writer's Brush: Paintings, Drawings, and Sculpture by Writers.

1. This is the bargain of the year. Wonderful full-color plates and extremely interesting biographies of the writer/artists.



2. I had seen a brief review of the book on t.v. prior to the holidays & ordered it for a friend of mine who is an avid reader & also dabbles in painting. He positively LOVED it, and this is a man who is not easy to please.....He said the book was insightful & gave glimpses into the other artistic side of writers....



3. This book is truly a treasure! Every page unveils little known talents and secrets of literary artists whose talents as painters, sculptors, and so on are every bit as fascinating as their written work. What is even more special is that the artists include such an immense variety of men and women from various periods of history. It is not a book to be read page-by-page, but like the greatest culinary delights from truffles to the purest chocolates, it needs to be savored in small, rich, fulfilling portions. I expect to see The Writer's Brush published in other languages, if that, indeed, has not already begun.



4. The Writer's Brush is a remarkable achievement. It's a unique work that is simultaneously a very interesting read and a valuable resource. The collection of artwork is a window into the oft unknown alternate lives of many of our best known writers. It is fascinating to see the artwork of Joseph Conrad, Winston Churchill, Emily Bronte and Kurt Vonnegut, Kipling, Ibsen and Ionesco... who knew that their talents transcended the page to the canvas. I am also enjoying learning about authors that I didn't recognize and then seeking our their writings. Bravo.



5. I just got this book, and it is one of the best literary compendia I have ever seen or read. I love learning more about some of my favorite writers and was surprised at how talented some were - some I never knew painted - and it was strange to see how some of the art would have been what you expect, and some wasn't. For example I am a huge Dostoyevsky fan and his drawings looked a little ragged and strange and dark like his characters. I didn't know he drew in the margins of his manuscripts. At over 400 pages I will probably spend the next 10 years taking this book down from the shelf to read the quick bio and look again at the art of a writer who comes up in conversation around our house or who I am reading...Really beautiful and inspiring book.

5 comments about Creative Authenticity: 16 Principles to Clarify and Deepen Your Artistic Vision.

1. Ian Roberts, thank you for your wonderful book, Creative Authenticity: 16 Principles to Clarify and Deepen Your Artistic Vision! I have read it four times and will continue to refer to it. I have read many art books in the past few years and yours is the best. It isn't a 'how-to' book but more of a 'why' book and Roberts has truly pegged the drive and spirit that makes one want to create art.



2. Ian Robert's book is inspiring, straightforward, and has served as a continual reference of inspiration for me throughout the years. He has put into words things that I often feel but have never been able to say, things that no one else seems to understand. I highly recommend this book.



3. I am impressed by the contents of this book. I have been thinking most of these thoughts but this has put these thoughts all together in a way that solidifies all of those thoughts on creativity. I am about half way through it now and will certainly be going back through this book many times over. I do wish that it was available in an audio format. Those of us with failing vision really could use that kind of help.



4. I've just completed reading this treasure of a book and plan to go back to it again and again. I have something highlighted in every chapter! So often I found myself nodding and saying "Yes! Yes! That's exactly how it is!" Ian Roberts understands the quirky artistic brain, our fantasy fears and foibles and writes so well about them. His writing style is a joy to read.



5. As a practicing graphic artists for many years, and always trying to understand the creative mood swings in making and creating art. I completely enjoyed the insight Ian Roberts writes about being an artists. Even though he writes from a painter's perspective, his book is completely applicable for all visual art makers. Being a serious artist is not easy and it shouldn't be...doing art is about stuggles...looking at a blank piece of paper or canvas can be frightening and this book breaks down the various areas to help understand and ease that fear. I highly recommend this book to any serious artists who is seeking to understand their own creative process.

3 comments about Petit Connoisseur: Art (Petit Connoisseur).

1. This visually stunning book fits perfectly in little hands and is filled with stimulating images that children love to look at over and over again. It's printing quality is exceptional and it's by far the best introduction to art for this age group that I've seen. This would make a wonderful gift for any preschool home.



2. Good for all art lovers not just children - but a very, very, good way to introduce your little ones early on to the beautiful and amazing world of art.



3. What a pleasure it is to find a book worth relishing again and again for it's clever use of words and graphics arts to foster in young children a love of modern art. Like a quick trip to MOMA snuggled up on your own sofa, your toddler may become familiar with concepts and visuals that can only enrich their love of color and (and simple words which they soon memorize and "read" along with you) and entertain their imaginitive spirits. For your budding Warhol or simply the art lover in you, here is a fantastic exposure to modern art that allows your child to explore, to learn and laugh all at once.

5 comments about In the Shadow of No Towers.

1. I used "In the Shadow" as a segment in a group project for an undergrad presentation on "Maus" to further understand and psycho analyze Spiegelman's mental conflict. While short, the art is dense and the possibilities for analyzation are endless...leaving you with a worthwhile experience. Anyone who is a fan of Spiegelman's work, or anyone who wants to see how Spiegelman uses an event that is in his personal history (not his past generation's) then definitely check out "In the Shadow"...you won't be disappointed.



2. In a small series of comic strips originally designed to be printed as large, two-page newspaper spreads, Spiegelman illustrates his personal experiences of the attack on the World Trade Center. He focuses mainly upon four themes: his concern over the safety of his daughter who was attending a school right near the towers, his growing paranoia over the government, the funny but disturbing display of blind patriotism that arose amongst the US population and media following the tragedy, and, lastly, how slow he is at producing comic strips.
   
   Given the emotions still surrounding 9/11, it would take extraordinarily bad writing to fail to get any reaction from a reader, and perhaps that is why Spiegelman is so lazy and sloppy here. I'm sure he felt emotions while he was writing this, and he DOES do a good job of making the reader feel some of his anxiety over his daughter's safety, and some of his anecdotes are interesting (his never-used TV interview about how "American" 9/11 made him feel -- it didn't -- is quite humourous). But overall the writing lacks direction, is amateurish and hackneyed, and surprisingly ineffective at eliciting a strong emotional reaction from the reader given the subject matter. It usually wasn't so much Spiegelman's writing that made me feel emotions, but the memories it drew from inside of me (like the images of people falling from the towers). Without those memories, it was just history.
   
   The problem may in part be due to the format of his stories. In each spread we tend to get a glimpse of a storyline, then we get to the next strip and we see basically the same glimpse of a storyline with much repetition and little progression, rendering his storytelling completely choppy. It reminded me of newscasts where they keep repeating the same "coming up" message over and over again, and when they finally get to the story itself, it winds up being even shorter and less informative than any of the multiple previews you sat through. And sometimes he doesn't even go that far. To illustrate, Spiegelman repeatedly tells you how paranoid he felt. But he does not get his feeling of paranoia across. He doesn't make the reader feel any of his paranoia or really show its effects on his life (other than some lost sleep). And it comes across as completely matter-of-fact. He might as well be telling us that he ate a salami sandwich for lunch yesterday without even describing its taste, his hunger, etc.
   
   Some of his artwork is interesting as he draws upon classic strips from the early 20th century for inspiration, but this technique rarely adds any depth to the story's content. It is interesting style, but that's all it is -- style. It makes for pretty pictures, but fails to redeem the text.
   
   Overall, Spiegelman has nothing new to say on the subject of 9/11. It has all been done far more competently and compellingly elsewhere by numbers too great to count. Ultimately lightweight, Shadow is printed on nice, thick boards to create the illusion that it is far more substantial than it is. It includes reprints of several interesting vintage comic strips which are included both to allow the reader less versed in comics to see where Spiegelman drew stylistic inspiration, and to pad out the books extremely small page count.



3. I thought this would be more of a story of the artist's personal experience & less political. I don't disagree with his politics, but it was still somewhat of a disappointment. Spiegelman's artwork is always amazing, often moving & thought provoking. I was really moved by his quote: "I finally understand why some Jews didn't leave Berlin right after Kristallnacht!" I also enjoyed the section on old political cartoons



4. Before this book, I had never picked up a book on 9/11, being that I assumed they are all so politically biased (be it one extreme or another). There are also so many of them, some released very soon after the attack. It is frustrating to look at the "new books" section of the local library and see ½ the shelves filled with 9/11 books. I couldn't help myself with this curio, however. I am a fan of history and comics. Browsing through the large, thick, colorful cardboard panels of "In the Shadow of No Towers", I saw a vintage newspaper page on the shooting of President McKinley (the author doesn't elaborate on why this was used, must be the terrorism theme, in this case anarchism) and what looked like on first glance a vintage comic on the Titanic (it turned out to be an even older comic). I knew this book was right up my alley. Having never read Maus, I wasn't sure what to expect but looked forward to checking it out.
   
   It didn't take long to find the politically-biased stuff I dreaded.. On the very first plate: "In those first few days after 9/11 I got lost constructing conspiracy theories about my government's complicity in what had happened that would have done a Frenchman proud. (My susceptibility for conspiracy goes back a long ways but had reached its previous peak after the 2000 elections)." In fact, in his "...No Towers" comics that make up the first 10 panels of the 18-plate book, the author reveals a preoccupation with the 2000 elections. At one point he calls George W. Bush that "creature in the White House" (7). This book came out before the 2004 elections, so one can only wonder if the author has yet to let 2000 go. On panel 7, he has a red/blue zone look at the 2000 elections "the one that put the loser in office," with what I'm guessing is the percentage of the popular vote showing Gore the winner (of course, it is not the popular vote that determines the winner).
   
   The "...No Towers" strips are very aesthetically interesting with computer images mixed with colorful comic artwork. The author relives his experiences during the tragedy, getting his daughter from the UN school near the towers, a run-in with a predictable crazy lady living on the street, etc. He then goes into his own internal struggles with what had transpired and the aftermath. My favorite line is "sometimes complaining is the only solace" (9). The vintage comics section I found to be the most intriguing as I enjoy (though I don't often understand) that early 20th century humor. Spiegelman chose is 8 comics, it seems, based on themes of buildings and American patriotism. I am grateful he includes an explanation of them, especially the Krazy Kat comic, as I would probably not understand the connection he drew between them and 9/11 otherwise. Actually, I was a little disappointed in the vintage comics used. I thought they'd deal with how comic writers dealt with other tragedies. My favorite vintage comic is the first one used in plate 1 "Etymological Vaudeville" where Happy Hooligan gets ready for bed and takes off one of his shoes that goes "Klomp!" Not wanting to wake his family, he quietly takes off the other shoe and goes to bed only to be awakened by his family cussing and yelling, "Drop the other @*g! shoe so we can go to sleep!".
   
   What strikes me the most is the reoccurring theme that the end of the world is upon us. I think that probably people from every generation felt this away about the tragic events of their time, be it war, famine, plague, etc. Spiegelman makes statements like "I worry whether New York City or I will still be around" (7). I think we all are guilty of taking our time on earth too seriously. We like to think that we witnessed the worst thing to ever happen in the history of man. Horror is all relative of course, but in the scheme of history, as horrible as 9/11 was, it was not the worst thing to happen on earth. Worse things have happened in the past and will happen in the future. Spiegelman himself hints at this at the end of his introduction: "I still believe the world is ending, but I concede that it seems to be ending more slowly than I once thought" (i).



5. There's no way this project could be as tremendous as Spiegelman's life's work, "Maus," but it's tough not to make comparisons. This book consists of just ten large-scale comic strips that Spiegelman created to explore his feelings about 9/11 and its aftermath. Spiegelman's personal experience of the disaster – his family lives and works literally next to the World Trade Center – gives his accounts a direct poignancy, with more strength and emotion than the jingoism you get from pundits who weren't there. And as always, Spiegelman's artwork is outstandingly expressive, with his gifts for artistic allegory and surrealism in full eye-popping display. However, things go asunder when Spiegelman extends his comic strips to the political aftermath of 9/11. I don't disagree with the idea that the Bush administration has used the disaster to consolidate votes and bully a fearful public into backing their political agenda, and I won't accuse Spiegelman of conspiracy theorizing as others have. However, Spiegelman's social and political philosophy is rather undeveloped and sketchy, and frankly too weak to stand next to his outstanding artwork. Meanwhile, the second half of this very meager book consists of reprints of old comic strips from the early 1900's, which Spiegelman says have influenced his artwork and his opinions on the post-9/11 American political landscape. These strips are certainly interesting from a historical standpoint, but I'm not really buying Spiegelman's claims of a direct connection to the rest of the book. [~doomsdayer520~]

4 comments about Hundertwasser (Taschen 25th Anniversary).

1. I am a quilter, and bought this book largely because of my love for batiks,and on recollection of a show I saw 30 years ago on Hundertwasser in Toronto.I like it,big time.The artist may not have alot to say as other painters,but his designs,and color sense are inspirational!
   I am glad I got it!



2. This book really shows off Hundertwasser and is a great addition to any art collection. This is another hit by Taschen.



3. Any book about art or an artist that doesn't make me fall asleep gets five stars from me. The only downside (but it still gets five stars) as that you don't get the full representation of the pictures and need to look at the description to see the medium. For example the foil overlay. Still wonderful. (Feb 17, 2008)
   
   I eventually found a small, beautiful, cloth-bound catalogue of his Australian and New Zealand exhibitions (the one I have was produced in 1973 by cicero, gmbh and titled 'Hundertwasser 1974 Australia') and there you get glimpse of the phosphoric metallic brilliance that I find missing in many of the books about Hundertwasser - although for the price of these books, no complaint. This book and the catalogue are a good combination. The catalogue I was able to find at a very reasonable price of $30, but it took a bit of searching. (April 16, 2008)



4. REVIEW SUBTITLE: A Serendipitous Purchase
   
   While I had come across references to "the art of Hundertwasser," because I knew only of him as an architect and consider architecture an art, I assumed that the colorful work adorning the cover of this book was one of the Gaudi-esque architect's occasionally fancified plans. As a number probably know, however, it is not. Rather it is but one of Hundertwasser's many paintings.
   
   Though I'd expected a book on architecture, I was not disappointed to receive one focusing on H's development as a painter. In fact, I was elated, for splashed across approximately 2/3rds of the 197 pages of this book are what had originally attracted me to him: the "lush opulence" of what I now know are his watercolors and paintings.
   
   This book, however, is not just a visual feast. In addition tracing his development as an artist, the text includes and discusses H's thoughts on topics such as those noted in the Table of Contents I've included in the commentary following this review. And while some may seem esoteric, the discussions are not. In fact, they're fascinating.
   
   That most of the focus of Taschen's retrospective of H and his work is on water colors/painting is not surprising, for so few of his structures were ever realized. However, approximately 30 well-illustrated pages are devoted to H's theories about architecture, his architectural models, and the utopian structure he was commissioned by the city of Vienna to build.
   
   I was certainly correct in one assumption I made when I ordered HUNDERTWASSER: With the words "Taschen 25th Anniversary" attached to its title, I could not go wrong. Nor will anyone who purchases it.
   
   Note: Lest you give any weight to L. Egan's comment about the book's "downsides," please read my response to his review.

3 comments about M. Joan Lintault: Connecting Quilts, Art & Textiles.

1. Quilters seem to be as varied a group of artisans as painters when it comes to accepting information on individual technical approaces and personal repertoir with medi and style delivery.I give this book 5 stars for approaching quilting as bas relief,mural and sculptural media possibilities.I haven't seen another book so daring in concepts,and I did buy "lark masters art quilters" in my same purchase order.
   This is a book worth buying,especially if you are an artist.
   The Lark book,well,that's another review.



2. I thought the pictures were amazing. It just wasn't quite what I expected. I found the book a little hard to read.



3. I was so impressed by the cover of this book that I preordered it. I gave it four stars instead of five because, although I found it inspirational, it is not really a "how to" book. It seems more like an artist talking about the way she came to making unique and impressive quilts.

2 comments about Claude Monet: Sunshine and Waterlilies: Sunshine and Waterlilies (Smart About Art).

1. "Claude Monet: Sunshine and Waterlilies" was a terrific book for my 7-year-old daughter. Since it is "written" from the perspective of a fifth grade student doing a report on the famous artist, the language was clear, concise, and interesting to a child my daughter's age. I learned from it, too! My daughter couldn't wait to break out her paints and try her hand at an "impressionist" painting of her own! For anyone who wants their child to learn about art, this book --and the whole series of "Smart About Art" books--is a great place to start. Your child--and you, too!--will definately enjoy this book.



2. This is one in a series of books about artists for young children about the lives and paintings of these famous oldsters. Written as a report by a fictitious student gives a different aspect and will appeal to school children perhaps; and yet, it contains a biography of Claude Monet (the good and the bad) which appeals to adults, but especially his marvelous paintings are worth the money.
   
   He was very handsome when he went to Paris at the age of 18, but the other painters kidded him with the nickname "Dandy" because he wore ruffled cuffs even though he was just the son of a poor grocer. As a young child in the early school years, he would draw stetches of his teachers and sell them to his classmates. The sketch he drew when he was sixteen looks like something you might see in 'The New Yorker' and is now a part of the expressionist grouping at the Art Institute of Chicago. Some years ago, my son Geoff took me there but that part was closed off for renovation. I told him it didn't matter as there was so much else to look at; as it turns out, the expressionalists are my favorites. Oh well, it was grand just being there.
   
   'The Poppy Field' is one of his most famous, but the people in Knoxville would much prefer 'Water Lilies' because of the purple. By his 83rd birthday, he had finished twenty-two giant paintings of waterlilies. He had his own water gardens as an older man with a bridge (a photo of him standing by with his long white beard); there in his garden at Giverny the flowers were so colorful and plentiful, it could be Longwood Gardens in New Jersey. He and Renoir painted the same scene of a group of party-goers along a frog pond and the canoes pulled up for their use. Renoir's is a close-up though he has one of his trees with long hanging branches, while Monet's is more exact and clear.
   
   He was happily married twice but the deaths took their toll; Camille had been his model for ten years before their marriage and he painted many strange pictures after her death with her face in them. When Alice died, he was so distraught he was unable to paint for some years as his eyesight diminished. In 1923, he endured eye operations and had special glasses to use for resuming his career.
   
   Steven ends his report with "On December 5, 1926, he died (shortly after his 87th birthday). He had been happy, sad, poor and rich. In his life, Monet painted more than 2,000 paintings, which now sell for millions of dollars. They are worth it."
   
   Some of the phrasing is for kids to understand, but the book is so full of information not included in adult biographies it is well worth the time and money to purchase this little treasure.

5 comments about The Painted Word.

1. If your interest is writing or art, you'll enjoy The Painted Word by Tom Wolf. If you like both, then this irreverent, little book will make you laugh, nod in agreement, or cry out in protest. You definitely won't be bored. This is Wolf at the top of his game and you'll find yourself constantly reading passages aloud to anyone within earshot.
   
   First published in 1975, Wolf decomposes modern art movements in a way that is both enlightening and entertaining. His clever style provides the reader with an inside look at the art world and illuminates the follies of our cultural elite. Even if you have only a cursory understanding of modern art, Wolf's insightfulness will prompt numerous "oh yeah, now I get it" moments.
   
   The Painted Word will make your next visit to an art museum more discerning and a heck of a lot more fun.
   The Shopkeeper



2. A Review of Tom Wolfe's "The Painted Word"
   
   Tom Wolfe's rhetoric is at times overpowering but like beautifully complicated music (Bach?) it is a symphony for both the brain and the heart. Wolfe is saying that as art loses its goal to communicate it becomes lousy art, if art at all. He implies that "art for art's sake" is a false concept, and I agree with him. He attacks pretentiousness in both artist and art lover and correctly labels it a game.
   
   Wolfe's title is a word play in two respects. (1) The modernists invent their genres and make them more important that the art itself. (2) Art must have a subject, just as a sentence must have a subject.
   
   The phrase "Art for art's sake" can be used in an adjectival way meaning devotion, obsession, degree of love for the activity of art, and that's fine with me. But there must be more to art than excited devotees. Otherwise, every fanatic, let alone every hard working man who loves his job, would be a creator of art in some form or another. And the crudeness of our world, albeit with beauty scattered about here and there, tells us that is not the case. Of course, beauty and tenderness can exist and not be art. For art does not become art simply because someone says it is.
   
   Much modern art is good and beautiful and meaningful in its dealings with color and form. And a painting might indeed deal solely with color and form, and not with reality. For they are legitimate subjects. On the other hand, an artist's desire to bamboozle is not enough. I love some modern art, and some not, the same as with the other genres. So when is modern art a thing I can accept? When it communicates a subject, even form and color alone; and when it is honest and makes no claims that are not there.
   
   There is a difference between paint-artists and writers in how they perceive their own art juxtaposed others, and how they assign value. Most writers move about, back and forth, and are influenced by all forms, all styles, all of history, and they are capable of learning from the past. They might read Proust one day and Joyce the next, Emily Dickinson and then Virginia Woolf, Goethe and then Vonnegut, Rushdie and then Shakespeare. Take a look at James Joyce's great novel "Ulysses." It depends on the Greek myths, a vastly different kind of writing than his own, but without Homer Joyce's novel would be less than we have now. At the very least, it would be a different novel with a different message.
   
   An exaggeration, even if grotesque, might be characterization, and might be art. James Joyce was aware of that.
   
   On the other hand, more than a few paint artists are bitter in their historical perceptions, hating the art outside their own genre. The Impressionists (whom I especially love) had a vigorous abhorrence for what came before them, and the abstractionists hate everything and everybody but themselves, even denying that their art has to have a subject. "Flatness" is not a subject, it is a technique. A question - why can't I pour paint onto a canvas drip by drip, like Jackson Pollock, and make art out of it? What skill, artistic or otherwise, is involved in that? And what would my spills and splashes communicate?
   
   And then there is the world of hanger-oners and art critics who speak and write in an insane insiders' language, pretentious wanna-be-nabobs living in intellectual temples, wobbly dirty white towers, who feel compelled to tell us what to think, what to love, what to read, what to look at, what to marvel at. And if we disagree they tell us we are bourgeoisie philistines, poor brain and heart limited creatures, incapable.
   
   Tom Wolfe has written a wonderful and humorous look at the sometimes ridiculous world of modern art. Agree with him or not, you will be entertained.
   
   Like Tom Wolfe, I am bemused and irritated by the art reviews in The New York Times. A review of rusted pipes and broken fixtures on display at an art show pushed me over the edge. So I wrote a review of my own and sent it to them. They completely ignored me as I knew they would. My review was of my cat's litter box. Here it is -
   
   **********
   
   A Review of Menace in Simple Things
   
   My love of art and my disdain for the many tortured reviews of art that I stumble across more often than is good for my mental health has led me to write a review of my own. The subject of my analysis is - to say the least - as profound as elephant dung on a Madonna, twisted plumbing, rusting scrap metal, empty white canvasses, or a crucifix inserted into a jar of human urine, objects that are taken quite seriously on the daily art pages of our great American newspapers and in their Sunday supplements. But please, do not take my subject too seriously, for my cat does enough of that for all of us.
   
   A few days ago I happened upon my cat just as he was leaving his litter box after taking a poop. A friend was with me and as he observed my interest in the affair he asked, "You act as though you know what this is all about. I don't get it." Sensing a crisis I suggested that a search through Britannica or The New York Times Arts and Leisure Section might be helpful.
   
   "I can do that." he said, and abruptly left me to my musings. It seemed threatening that I found myself alone with my cat's poop.
   
   The poop seemed to be arranged in a stripped-down manner that made it appear to be on a lighted stage that integrated its various themes into an art form - if you will - that has its roots in Minimalism, and that merged the entire piece into a distinct theatricality. It seemed to have its sources in childhood, a numinous presence having the effect of a domestic twilight zone. Ordinary chunky things were combined in weird ways.
   
   The result was a spooky, dead narrative, perhaps even an autobiographical content. Domesticity - poisoned, entrapped disrupted - was its main theme. And no artist better captured a sense of Foucault's romance with oppression than my cat. At the same time, there was room in the poop for humor, however sardonic, and a strain of poetry that would become more evident with time.
   
   All these morphological riffs loosened up the obtuse, adamant solidity of the poop and suggested a wealth of associations - baptism, slaking thirst, warming, cooling, healing, and of precious things gone down the drain and lost.
   
   It is important to understand the metaphorical dimensions of my cat's poop. But it is not always easy to do that. As time goes on, and the cultural climate that produced this poop moves backward, a new and grand brew of pessimism and nostalgia delivers a shock. But can it be - will it be - a heavy-handed emphasis on a more flexible medium?
   
   Perhaps baby poop next time.
   
   **********
   
   I think I'll go to Macy's and buy me a white suit.
   
   Joseph A. Psarto
   440-835-5179
   jpsarto@juno.com



3. A classmate lent me The Painted Word by Tom Wolfe, published in 1975, and boy, if you ever want some actually intelligent criticism and questioning of the establishment of modern art, this is it!
   
   The beauty of this book is that Wolfe doesn't usually attack the art - though occasionally he does accuse artists of allowing themselves to be too influenced by popular theory - he really attacks the establishment.
   
   And he does so in a hilarious way. For instance, Wolfe starts out explaining the "mating ritual" between the bohemian artists, "boho", and high society that can financially back and establish the artist, the "monde". He talks about how to be successful, an artist must first be an honest boho, live amongst the other bohemians and adopt true anti-bourgeois values. This is called the "boho dance". But once an artist has attracted the monde with his dance, he must "doubletrack", which means learn to gleefully hobnob with the elite and enjoy his success, despite being a hypocrite.
   
   And this mating metaphor is just the beginning. This book oozes sarcasm of the best and most vicious sort. Just check out this passage, about how pop art, according to the theorists, was supposed to be about "flatness", rather than how the subject matter related to real life:
   
   "In short... the culturati were secretly enjoying the realism! -plain old bourgeois mass-culture high-school goober-squeezing whitehead-hunting can-I-pop-it-for-you-Billy realism! They looked at a Roy Lichtenstein blowup of a love-comic panel showing a young blond couple with their lips parted in the moment before a profound, tongue-probing, post-teen, American soul kiss, plus the legend `We rose up slowly...as if we didn't belong to the outside world any longer...like swimmers in a shadowy dream...who didn't need to breath...' and--the hell with the sign systems--they just loved the dopey campy picture of these two vapid blond sex buds having their love-comic romance bigger than life, six feet by eight feet, in fact, up on the walls in an art gallery."
   
   How can you not love writing like that?
   
   This book rocks.



4. This book provides a humorous, easy to read look at the world of modern art. It was a pleasure to read!



5. In this short book, Wolfe purports to tell us that the entire American art scene (ie ALL abstract art) of the post-WWII years is nothing but verbiage, a creation of a bunch of second-rater critics. I find this kind of generalization absolutely breathtaking in its arrogance and facile dismissiveness. By what criterion does Wolfe make this judgment? By the fact that there were a bunch of high-falutin' critics who explained it to those who wanted to be taken by fashion. While this is a common enough phenomenon in a nationalistic sense (pride in the output of one's country), I think it only applies to individuals rather than an entire scene. Afterall, the astract artists like Pollack belonged to a continuous milieu, which runs the gamut from Bob Dylan and John Coltrane right through the Beat Generation writers and Pollack and his cohorts and even TV like the Outer Limits and Twilight Zone. Were all of them and all they did first rate? Perhaps not, but I wd argue that there area a lot of wonderful things there as well, reflections of a time even if they don't quite measure up to the earlier generation of modernists like Picasso and Matisse. I wd not dismiss them so cavalierely, so cynically, as if you can emcompass all they stood for in a single argument. This book is for those who want to appear as glib smartas*es.

1 comments about Responding to Art : Form, Content, & Context.

1. Robert Bersson has written a clear and accessible book on art history, incorporating hundreds of illustrations. His choices are relevant,linking the reader to the intricate evolution of visual arts on a continuum through history.

   For the art historian,the art educator, and the art lover, Worlds of Art is a remarkable resource.