The most recommended modern art books

I’m a poet, literary critic, translator, and biographer, and I grew up partly in France. I became obsessed with Max Jacob when I was twenty. Max Jacob—mystic, poet, painter, and suffering lover—took hold of me, and I found myself writing poems to him, in his voice, in my sketchbooks. They were among my first published poems: he redirected my life. A few years later I stumbled into writing his biography, never imagining that it would take thirty-five years: it came out from W. W. Norton in 2020, along with my most recent book of poems So Forth. I teach Comparative Literature in the Committee on Social Thought at the University of Chicago.

I absolutely love the Pre-Raphaelites, they are my utter passion and these books are the fuel for that fire. Who wouldn't want to be a Pre-Raphaelite woman? Smart, talented, resourceful, these women define what it is to make a mark and great some of the most ground-breaking art in history. I'm particularly obsessed with Pre-Raphaelite women, the artists and muses who created the art we love so much today. After spending almost 30 years researching their lives and loves, it's now my absolute pleasure in telling everyone about these astonishing women, and why we should love them and learn from them.

With over 20 years of experience as a professional artist and a successful track record of earning six figures a year from my art, I know firsthand what it takes to build a thriving artistic career. As the host of the Inspiration Place podcast, and founder of the Artist Incubator program, I’ve dedicated my life’s work to helping artists everywhere achieve their full potential and reach their goals. When you overcome the common challenges and mindset blocks that hold so many artists back and learn the practical tools and strategies you need for selling your art, you too find the same success.

My interest in photography began as a student at Pratt Institute, a preeminent art school, and I have worked in the field my entire adult life, not as a photographer but as a picture editor and photography critic. I was the Page One Picture Editor of The New York Times and wrote regularly about photography for the paper. I have published two biographies: one on Richard Avedon, among the more significant artists of the 20th century, and another on Sam Wagstaff, one of the earliest collectors who established the art market for photography; a book of collected reviews and essays called Photography After Frank; and essays on individual photographers for museum catalogues and artist’s monographs. I produced the 2011 documentary, Bill Cunningham New York.

I’ve had a life-long love affair with the arts. I intended to become an artist, but ultimately became a psychologist researching psychological aspects of the arts. My first book, Invented Worlds, examined the key questions and findings in the psychology of the arts. In Gifted Children: Myths and Realities, I wrote about gifted child artists. My Arts & Mind Lab at Boston College investigated artistic development in typical and gifted children, habits of mind conferred by arts education, and how we respond to works of art. The walls of my home are covered with framed paintings by young children, often side by side paintings by professional artists.

I’ve had a life-long love affair with the arts. I intended to become an artist, but ultimately became a psychologist researching psychological aspects of the arts. My first book, Invented Worlds, examined the key questions and findings in the psychology of the arts. In Gifted Children: Myths and Realities, I wrote about gifted child artists. My Arts & Mind Lab at Boston College investigated artistic development in typical and gifted children, habits of mind conferred by arts education, and how we respond to works of art. The walls of my home are covered with framed paintings by young children, often side by side paintings by professional artists.

Even the purest of artists thrive under tension. For some artists, politics has provided a crucial source of tension which has led to great achievement. Usually, it doesn’t. Why? Because artists, like critics, are often poor at gauging political realities. (Artists are usually better off not getting involved with “ideological confusion and violence,” as Greenberg put it.) Occasionally, though, problems become so acute that being unserious about the world is not an option—the 1930s was like this for some, and maybe a second Trump presidency will have a similar effect on artists and critics today, although there is real room for doubt.

I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge. 

Having written several books on cultural history, I was puzzled in the late 1990s by the insistence of most American curators, art historians, and gallerists that there could not possibly be any spiritual content in modern art because the modern project (beginning, they assert, with the first Impressionist exhibition in 1874) was all about the rejection of tradition, religion, etc. This overarching narrative has dominated the professional art world since World War II. I knew it was false because I was aware that many prominent modern artists had spiritual interests, which were expressed in their art. So began a 17-year-long research quest focused on what the artists themselves had said.

I'm currently an Honorary Fellow in Social Theory at the University of York, U.K. For more than five decades I've been working to promote more reflexive perspectives in philosophy, sociology, social theory, and sociological research. I've written and edited many books in the field of social theory with particular emphasis upon questions of culture and critical research in the expanding field of visual culture. Recent projects include Interpreting Visual Culture (with Ian Heywood), The Handbook of Visual Culture, and an edited multi-volume textbook to be published by Bloomsbury, The Bloomsbury Encyclopedia of Visual Culture. The passion to understand the thought and visual culture of both the ancient and modern world continues to inform my work.