Let's See: Writings on Art from the New YorkerDistinguished critic at The New Yorker since 1998, Peter Schjeldahl has been described as America's most influential writer on art. Blessed with an unerring eye, he tackles a myriad of subjects with wit, poetry, and perspicacity, examining and questioning the art before him while reveling in the power and beauty of language. His writing springs from a desire to be understood by all readers, and a determination to help them engage with art of every kind. Covering subjects drawn from a broad canvas of the history of art--from ancient Greece, Mexico, and Byzantium, through Raphael, Rubens, and Rembrandt, to Bruce Nauman, Jean-Michel Basquiat, and John Currin--the writings collected here seek out with precision and economy the essence of the individual artist or work under discussion, but they never lose sight of the bigger picture: What is beauty? What does it mean to be an American artist? What can the art we produce and admire tell us about ourselves? With an imaginative introduction--twenty questions, each one posed to Schjeldahl by a different artist or writer--this collection will appeal to anyone who considers the experience of art, and of writing on art, an invitation to a voyage. Coverage includes: - large-scale exhibitions at leading institutions around the world - shows at private galleries - profiles of prominent members of the art world - personal accounts of time spent with artists - the influences of museum spaces on our experience of art |
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Page 42
... political art make up about a quarter of " Open Ends . " The emphasis feels well timed . Today , politics is passé on the art scene , after three decades of countercultural rampancy . What was that about ? What can it mean now ? Because ...
... political art make up about a quarter of " Open Ends . " The emphasis feels well timed . Today , politics is passé on the art scene , after three decades of countercultural rampancy . What was that about ? What can it mean now ? Because ...
Page 43
... political hope and moral disaster , I guess . But one can't speak with confidence of its meaning , which must be discerned by feel , like an object in the dark . The Baader Meinhof saga is long and dense . Briefly , they were young ...
... political hope and moral disaster , I guess . But one can't speak with confidence of its meaning , which must be discerned by feel , like an object in the dark . The Baader Meinhof saga is long and dense . Briefly , they were young ...
Page 44
... - 111 looks . Like David , Picasso , and Richter , Rosenquist nailed one historical congruence of art and politics for keeps . December 11 , 2000 44 Dead - End Kids : Political Art BIOMANIA Here ere's how the artist Eduardo Kac made one.
... - 111 looks . Like David , Picasso , and Richter , Rosenquist nailed one historical congruence of art and politics for keeps . December 11 , 2000 44 Dead - End Kids : Political Art BIOMANIA Here ere's how the artist Eduardo Kac made one.
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abstract aesthetic American Andy Warhol Angelico Arbus art world art's artist avant-garde Aztec Basquiat beauty Beckmann blue Brice Marden Bruce Nauman canvas Celmins century Cézanne Chardin color contemporary art Cubism culture curator Currin Dada dealer drawings Eakins early Édouard Manet El Greco eyes feel figures Freud Friedrich Gallery Gauguin gaze Gerhard Richter German Giacometti Greco Guggenheim Guston Hammons Hartley Hassam Hatoum images imagine Ingres Jackson Pollock John Currin Kooning late light look Malevich Manet Marden Matisse matter Max Beckmann Metropolitan Museum modern art MoMA Museum of Art Nauman never Newman Norman Rockwell nude painter painterly painting Paris photographs Picasso pictorial Pissarro political Polke portraits Ramírez Raphael Rembrandt retrospective Rockwell Rubens Ruscha scene sculpture seems sensation sense Sigmar Polke Struth studio style Surrealism Surrealist taste things Thomas Struth Tintoretto Velázquez Vermeer Victorian viewer visual Vuillard Whistler woman work's York young Yuskavage