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 110
... Studio I ( Fat Chance John Cage ) , a video installation that has opened at the Dia Art Foundation in New York , is five hours and forty - five minutes long . It consists of seven large DVD projections ( each about twelve feet high by ...
... Studio I ( Fat Chance John Cage ) , a video installation that has opened at the Dia Art Foundation in New York , is five hours and forty - five minutes long . It consists of seven large DVD projections ( each about twelve feet high by ...
Page 111
... studio . Those works played with the notion of the artist as a cottage industrialist of meaning , whose every deliberate action in his working space can't help but be art . Nauman was responding to a cul- tural situation that was new in ...
... studio . Those works played with the notion of the artist as a cottage industrialist of meaning , whose every deliberate action in his working space can't help but be art . Nauman was responding to a cul- tural situation that was new in ...
Page 125
... studio course with an abstract painter named Peter Golfinopoulos— “ a street guy , so alive . There was so much love there . ” Golfinopoulos showed with Charles Egan , a dealer of Franz Kline and Josef Albers . Egan became a lasting ...
... studio course with an abstract painter named Peter Golfinopoulos— “ a street guy , so alive . There was so much love there . ” Golfinopoulos showed with Charles Egan , a dealer of Franz Kline and Josef Albers . Egan became a lasting ...
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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