No comments about Lasting Impressions.

1 comments about Visual Music: Synaesthesia in Art and Music Since 1900.

1. VISUAL MUSIC is first and foremost a traveling exhibition currently ensconced in the Museum of Contemporary Art in Los Angeles and as an exhibition it is informative, enlightening, well curated, and a unique way to study the history of Abstract Art from 1900 to 2004. One enters the large multi-room experience with a stop in a darkened theater where films dating back to the early part of the 20th century explore pulsating, rhythmic, liquid and explosive images, some in black and white, some in color, some 'illustrating' music from Brahms to Dizzy Gillespie and some in complete silence. The works are by such experimental artists as Oscar Fischinger, Len Lye and Harvey Smith and the films have been restored admirably.
   
   The remainder of the walk through this marriage or courtship of visual images and music includes copious works by Kandinsky, Picabia, Klee, Ciurlionis, Kupka and many others, artists who sought to visualize the effect music has on the intellect and visual/aural 'synaesthesia' as the exhibition repeatedly explains. Some rooms are for framed works, other rooms for video forms of digitalized art in motion, some are simply walls of lines and abstractions and others the idiosyncratic color organs - the true synthesis of visual art and musical performance. The works representing today are from Jennifer Steinkamp in an elegant installation, Cindy Bernard, and Jim Hodges.
   
   Though this is not meant to be a survey of an exhibition, knowing the presentation of this VISUAL MUSIC concept heightens the appreciation of the stunning catalogue that accompanies this show. From the sumptuous design elements to the splendid color reproductions to the scholarly essays, this is a book that is not an easy read but an important one. From Jeremy Strick's cogent introduction to the book through essays on the history of abstraction and the concept of what stimulated artists to relate to music and why, to the significant 'in defense of pure music' essay by Olivia Mattis, this is a magnum opus on abstract art that is unique in every phase. Kudos to the curators from the Hirschhorn (Kerry Brougher, Ari Wiseman) and MOCA's own Jeremy Strick. Grady Harp, May 05.

No comments about The Pictographs of Adolph Gottlieb.

No comments about Gwen John and Augustus John.

No comments about An Abstract Impulse: Fifty Years of Abstraction at the National Academy, 1956-2006.

No comments about Silks for Thrones and Altars: Chinese Costumes and Textiles.

No comments about Vision of a Collector: The Lessing J. Rosenwald Collection in the Library of Congress.

5 comments about Unknown Terrain: The Landscapes of Andrew Wyeth (A Whitney Museum of American Art Book).

1. Published to accompany the exhibition "Unknown Territory: The Landscape of Andrew Wyeth" organised by the Whitney Museum of American Art in 1998, following the introduction two essays discusses the critical appraisal of the artist, his approach to his work and his painting methods; the easy are illustrated throughout in colour and black and white. The catalogue of work runs from pages 51 to 199. The book concludes with a further essay which includes a number of comments by the artist. There is also a list of works included in the exhibition but no bibliography.
   
   In total there are approaching 200 illustrations, with the vast majority being in full colour, although the restrained nature of Wyeth's palette does not make this immediately apparent even in the main section of plates. The landscape format of the book accommodates well the predominantly similarly proportioned paintings and drawings, however sometimes the image is reproduced rather small relative to the page size.
   
   A very useful publication which well demonstrates the range of the artist's output even with the designation of landscape.



2. If this were a hardbound edition (it may exist?) it would sell for an expensive price. The color plates, index and footnotes are exquisitely designed and printed in this softbound catalog edition. Anecdotes are plentiful, critical examination controversial, but this catalog of Wyeth's work is beautifully presented and great fun to examine. The words of critics are always oddly out of place and hard to swallow and fortunately there aren't many critic's editorials contained here. It's the dozens and dozens of paintings that are in this book-exquisite! As many of A.W.'s pieces were of a comparatively large dimension-as far as water-based works go, the plates do not capture the spatial and color phenomena of these paintings, but this is as good as it gets-next to a visit to a museum to view them "live!" One would be hard-pressed to find this many unpublished, heretofore unexhibited Wyeth pieces under one roof! A very enjoyable publication!



3. The staff of the Whitney Museum for a 1998 Wyeth exhibition compiled this beautifully printed and bound book. The stock is heavy and glossy and the colors sharp and clear. Many watercolors included have not been publicly seen for years, as many private collectors contributed their paintings for this exhibition. The dates of the compositions range from the early 30's through the late 90's.

   The two most recognized American artists of the 20th Century are Andys-Wyeth and Warhol, and they have more in common than their initials. Both are controversial and neither is as "realistic" as accused and/or categorized.

   My enjoyment of Andrew Wyeth was never diminished by the fact that I had a lot of company. Popularity does not necessarily mean inferiority in spite of what the self-consuming art world tells us. True, you have to have a certain fondness for bleak settings to properly take pleasure in most of the paintings. I often idly wondered if Wyeth ever painted landscapes in spring or summer and why he was so enamored of bare earth and beige and brown compositions. I have never seen as many abstracts as are contained in this book.

   The essays in the book are interesting, but not so prevalent as to overshadow the marvelous prints. My only complaint is the book is an unhandy shape, longer than it is tall, making it difficult to shelve. However, this is minor. Many hours of viewing pleasure are in store.




4. When you view the work of an artist, who is to be the arbiter of what, in this case the painting is about, what it means? Do you turn to the Professional Art Critic, Art History Majors, you the viewer, or the man or woman who created the work? In this case the Artist is well and painting, and his thoughts about his work are many and well documented.

   This book on the paintings of Andrew Wyeth focuses primarily on the media of watercolor and drybrush as opposed to the egg tempera paintings that are the medium for so many of his most famous works. Mr. Wyeth takes up to 6 months for a tempera work, and completes as few as 2-4 a year. The images in this book are produced by the hundreds, and over his career amount to literally thousands of images. This book discusses and publishes many images that have never been publicly shown, and uses this body of work to advance various ideas.

   The book is a valuable addition to those who are admirers of his work, the opinions that are expressed by people other than the artist, are either critical to the book on one extreme, or mostly ridiculous from where I sit.

   Andrew Wyeth has been a target for the self-proclaimed tastemakers of Art for one reason; his art is widely admired, collected, and highly valued. These elements automatically qualify him for criticism that is so absurd; it adds a comedic aspect to the text. Then there are those who do love his work but feel they must demonstrate that, yes, he is what the critics say he is not, and even more!

   The text did help me understand more about the method by which Mr. Wyeth creates these works, and the role they sometimes play in a major tempera piece. I loved his work before this book, and will continue to regardless of what "they" have to say. The only individual whose comments matter are Mr. Wyeth's. His thoughts are documented; I don't see the need for others to presume they know better than he what he paints, and what his intent was when he created the work.

   The book is great for the new images it brings to the public. Everything about the construction of the book is as good as you will find in a commercial publication, and the color plates are excellent. As to the text, that is left for you to decide, I am placing the stars above for the Artist and his work, not for what others have to say about it.




5. A collection containing a number of stunning watercolors loosely executed, rarely included in a book of Wyeth's works. Also includes many of his more labored tempera paintings.

1 comments about Stepping Out: Three Centuries of Shoes (Ashgate Popular and Folk Music).

1. This is a slim but beautiful catalog of part of the collection of the Powerhouse Museum in Australia. The shoes themselves are all in color and clearly photographed, the pictures ranging from a couple of inches to an entire page. A few of the smaller ones were a trifle hard to see and would have benefited from being enlarged.
   
   There are also a number of historic photographs, mostly black and white, as well as color reproductions of paintings and advertisements to add historical context.
   
   The introductory matter explains the history of the collection and gives an explanation of shoe-making. The shoes are mainly arranged chronologically with a few introductory paragraphs relative to the period. All the shoes are labelled, but details are give in a Shoe-List section in the back. Of particular interest is the section on Australian shoes which is a valuable supplement to more general histories of shoes. There is also a list of further reading.

No comments about African Art at the Harn Museum: Spirit Eyes Human Hands.