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 8
... things until they no longer worry me or perplex my editor . An utterance that sounds good isn't always right , but one that sounds bad is invariably wrong . Back when you were writing poetry , did you ever address any art works ? Can we ...
... things until they no longer worry me or perplex my editor . An utterance that sounds good isn't always right , but one that sounds bad is invariably wrong . Back when you were writing poetry , did you ever address any art works ? Can we ...
Page 46
... things , the artist's responsi- bility for the puissant gunk's indefinite survival . The lid of one tank is pink and the other blue , the sperm having been sorted by sex . What makes these exercises art ? Well , what else might they ...
... things , the artist's responsi- bility for the puissant gunk's indefinite survival . The lid of one tank is pink and the other blue , the sperm having been sorted by sex . What makes these exercises art ? Well , what else might they ...
Page 63
... things , all the time . Unable to overpower Beckmann , Picasso trumps him with nuance . Beckmann's emotive range is limited to attitudes befitting his rather rigid persona . ( He was a thundering dandy , if you will . ) Nothing limits ...
... things , all the time . Unable to overpower Beckmann , Picasso trumps him with nuance . Beckmann's emotive range is limited to attitudes befitting his rather rigid persona . ( He was a thundering dandy , if you will . ) Nothing limits ...
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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