When I was nine years old, I saved enough allowance money to buy a big box of oil pastels. I was mesmerized by its amazing display of gorgeous colors. Never could figure out why my girlfriends played with dolls when it was more exciting to paint. It wasn’t until high school, and time to apply to colleges that I made the decision to go to art school. Another key moment for me was after graduating from art school and landing in New York City. It was then that I made a brave decision to never waitress again, and instead do whatever it takes to stay in the arts.
This book is an absolute must-read for all painters. Kandinsky is known as the father of modern art who brought abstract painting into the realms of art history. As an important aside, there is now controversy over his title, as new information has come up about a woman painter Hilma af Klint, that preceded Kandinsky for abstract painting ideas. Even so, Kandinsky was the first to write about spirituality and art for painters. His ideas still feel fresh on how color plays an integral role to express emotion in painting. He originally wrote this book in German, and so the translation to English along with his determination to express inner motivation for painters, makes this read a bit of a challenge. A worthy task guaranteed to surprise even the savviest painter, on how Kandinsky points out our inner thoughts as contemporary painters, but more than a century ago.
A pioneering work in the movement to free art from its traditional bonds to material reality, this book is one of the most important documents in the history of modern art. Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art. Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution…
As a regular visitor to art galleries, I noticed the scarcity of old paintings by female artists. In this rather cheekily titled book, the author explains the reasons for so few artworks by women in our museums and galleries.
She illustrates women’s artistic talent and the incredible and often physically violent struggles they have endured in order to be recognised.
I learned so much, and it’s rekindled my determination to keep riding my motorbike! Now, you may think motorcycle travel and art history have nothing in common, but not so! There is still a belief that women are not as capable or talented as men in all fields. And I still find people are often surprised that, as a woman, I achieved a round-the-world, seven-year motorcycle journey.
How many women artists do you know? Who makes art history? Did women even work as artists before the twentieth century? And what is the Baroque anyway?
Guided by Katy Hessel, art historian and founder of @thegreatwomenartists, discover the glittering paintings by Sofonisba Anguissola of the Renaissance, the radical work of Harriet Powers in the nineteenth-century United States and the artist who really invented the "readymade." Explore the Dutch Golden Age, the astonishing work of postwar artists in Latin America, and the women defining art in the 2020s. Have your sense of art history overturned and your eyes opened to…
I have spent an exciting half-century in the New York art world as a dealer and an author and while my passion is to encourage people to enjoy art for art’s sake (rather than money or prestige) my many close friendships with artists demonstrate how much their life informs their art. The authors of these five books bring the art as well as the artists to life.
Of the many biographies of Andy Warhol this early one remains the best, written by a man who worked and partied with the artist in the heyday of the artist’s glamorous world (and I make another brief cameo appearance). Everything about the enigmatic icon of contemporary art continues to inform our culture and I was deeply influenced not only by Warhol’s paintings but by my friendship with him from 1964 until his death in 1987. In books and movies he has been transformed into a cultural icon rather than the complicated amusing hard-working artist I knew. Bob Colacello wrote this book shortly after Warhol died and for me is the best portrait of the “real” Andy Warhol and the era he helped to define.
In the 1960s, Andy Warhol’s paintings redefined modern art. His films provoked heated controversy, and his Factory was a hangout for the avant-garde. In the 1970s, after Valerie Solanas’s attempt on his life, Warhol become more entrepreneurial, aligning himself with the rich and famous. Bob Colacello, the editor of Warhol’s Interview magazine, spent that decade by Andy’s side as employee, collaborator, wingman, and confidante.
In these pages, Colacello takes us there with Andy: into the Factory office, into Studio 54, into wild celebrity-studded parties, and into the early-morning phone calls where the mysterious artist was at his most honest and…
William J. Buxton is Distinguished Professor Emeritus of Communication Studies and Senior Fellow, Centre for Sensory Studies, at Concordia University Montreal, Qc, Canada. He is also professeur associé au Département d’information et de communication de l’Université Laval, Québec City, Québec, Canada. He has edited and co-edited five books related to the life and works of the Canadian political economist and media theorist, Harold Adams Innis.
This book explores McLuhan’s relationship with avant-garde art. While McLuhan’s engagement with artistic endeavours, has received some attention, Kitnick examines in detail not only how McLuhan’s work on art developed over an extended period, but how his views on artistic practice came to inform the work of others. He builds on McLuhan’s contention that art was not primarily a means of self-expression, but rather the basis for cultural exploration and environmental change. Drawing inspiration from figures such as James Joyce, T.S. Eliot, and Wyndham Lewis. McLuhan, according to Kitnick, saw members of the avant-garde as artists who work within conventional structures in order to disrupt them, thereby throwing them into relief.
Marshall McLuhan (1911-1980) is best known as a media theorist-many consider him the founder of media studies-but he was also an important theorist of art. Though a near-household name for decades due to magazine interviews and TV specials, McLuhan remains an underappreciated yet fascinating figure in art history. His connections with the art of his own time were largely unexplored, until now. In Distant Early Warning, art historian Alex Kitnick delves into these rich connections and argues both that McLuhan was influenced by art and artists and, more surprisingly, that McLuhan's work directly influenced the art and artists of his…
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.
One of the most moving accounts I know of how literary creation takes place. With extraordinary sensitivity, Steegmuller reveals the mind and soul of the perturbed young bourgeois, Gustave Flaubert, and shows him growing, bit by bit, page by page, into the writer who set new terms for the art of the novel for the next hundred years. Art remains a mystery, but Steegmuller brings us uncannily close to the heart of it.
Francis Steegmuller's beautifully executed double portrait of Madame Bovary and her maker is a remarkable and unusual biographical study, a sensitive and detailed account of how an unpromising young man turns himself into one of the world's greatest novelists. Steegmuller starts with the young Flaubert, prone to mysterious fits, hypochondriacal, at odds with and yet dependent on his bourgeois family. Then, drawing on Flaubert's voluminous correspondence, Steegmuller tracks his subject through friendships and love affairs, a trip to the Orient, nervous breakdown and tenuous recovery, and finally into the study, where a mind at once restless and jaded finds a…
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.
Most studies of child art describe development towards realism. Artful Scribbles is one of the first accounts to focus on the expressiveness and aesthetics of child art. Developmental psychologist Howard Gardner discusses in depth the puzzle of why the flowering of children’s art (as valued in the West in the last century) does not last. While drawings of 8- or 9-year-olds are more realistic and “accurate” than those of preschoolers, they seem to have lost the exploratory freshness of the art of younger children. This is one of the earliest studies of children’s art to take seriously the idea of the child as an artist and to consider the relationship between child art, modern art, and the art of adolescents and of mature artists.
Psychologists have long understood that the art works of children relate to their intellectual and emotional development but this is the first book to describe the developmental process of drawing. Gardner explores the vital links between childrens art and their emotional, social, and cognitive development.
I have spent an exciting half-century in the New York art world as a dealer and an author and while my passion is to encourage people to enjoy art for art’s sake (rather than money or prestige) my many close friendships with artists demonstrate how much their life informs their art. The authors of these five books bring the art as well as the artists to life.
This journey of a masterpiece through the hands of some of the most memorable
characters of the twentieth century is more than art history, for me, it illuminated
the motives, pure and impure, of collectors from Paris to Tokyo and the turbulent times in which they lived.
This tale of one painting by a great artist of a very peculiar patron provides an amazing journey from late nineteenth-century Paris to Amsterdam in the 1920s to Nazi Germany to late twentieth-century New York and, finally Tokyo. I make a cameo appearance towards the end.
At a star-studded auction in 1990, a painting was sold for the record-breaking price of $82.5 million. That painting, Vincent van Gogh's Portrait of Dr. Gachet, has seemed to countless admirers to portray our times as "something bright in spite of its inevitable griefs."
This fascinating book reconstructs the painting's journey and becomes a rich story of modernist art and the forces behind the art market. Masterfully evoked are the lives of the thirteen extraordinary people who owned the painting and shaped its history: avant-garde European collectors, pioneering dealers in Paris and Berlin, a brilliant medievalist who acquired it for…
From the moment I could pick up a pencil, I’ve loved to draw. Since then, my art career has developed alongside my writing, and I’m now a professional illustrator. Despite this background, I still feel alienated from the “art world”. Contemporary art seems like a scam. Its pieces leave me cold, there’s rarely any skill to be appreciated, and their “meaning” is often obscure or trivial – at the end of the day, a pickled sheep is a pickled sheep, right? Pale Kings is a satire of all this, where a group of chancers set out to scam the scammers at their own game. But would anyone really buy a hole?
Before you judge contemporary art, it’s only fair that you try to understand it.
As such, Susie Hodges’ book does a valuable service, collecting together one hundred of the most important, influential, and controversial artworks from the last century or so. This ranges from Picasso to Damien Hirst, from Andy Warhol’s silkscreen prints of tins of tomato soup to Tracy Emin’s unmade bed.
Each entry gives some background to the work, some critical analysis, and attempts to justify why, although your five-year-old might indeed leave their bed unmade, they could not have done so in a way that explores the poignancy of the human condition (or something like that…).
A partisan book, defending the importance of modern art, but an informative introduction.
Come on, you know you've thought it-while viewing a "masterpiece" of abstract art, you mutter, "A kid could do that." Here Susie Hodge, author of How to Survive Modern Art, explains why the best examples of modern art are actually the result of sophisticated thought and serious talent. From Marcel Duchamp's notorious Fountain and the scribbles of Cy Twombly to Mark Rothko's multiforms and Carl Andre's uncarved blocks, Hodge addresses critical outrage with a revealing insight into the technical skill, layering of ideas, and sheer inspiration behind each work. In cleverly organized chapters such as "Objects/ Toys," "Provocations/Tantrums," and "People/Monsters,"…
From the moment I could pick up a pencil, I’ve loved to draw. Since then, my art career has developed alongside my writing, and I’m now a professional illustrator. Despite this background, I still feel alienated from the “art world”. Contemporary art seems like a scam. Its pieces leave me cold, there’s rarely any skill to be appreciated, and their “meaning” is often obscure or trivial – at the end of the day, a pickled sheep is a pickled sheep, right? Pale Kings is a satire of all this, where a group of chancers set out to scam the scammers at their own game. But would anyone really buy a hole?
The staggering thing about contemporary art is the money involved. Why would anyone pay $12 million for a dead shark preserved in formaldehyde?
This question drives Don Thompson’s book, as he explores the contemporary art market from the point of view of a professional economist. It’s a relatively unbiased work, free of ridicule or outrage, and is perhaps the better for that. Thompson shows us how the market works, and the role of each player – the buyers and collectors and investors, the rock star artists, the museums and galleries and auction houses – but also explores the psychology at work.
Why did hedge fund manager Steven A. Cohen buy Damien Hirst’s The Physical Impossibility of Death in the Mind of Someone Living for $12 million?
Why would a smart New York investment banker pay $12 million for the decaying, stuffed carcass of a shark? By what alchemy does Jackson Pollock's drip painting No. 5, 1948 sell for $140 million?
Intriguing and entertaining, The $12 Million Stuffed Shark is a Freakonomics approach to the economics and psychology of the contemporary art world. Why were record prices achieved at auction for works by 131 contemporary artists in 2006 alone, with astonishing new heights reached in 2007? Don Thompson explores the money, lust, and self-aggrandizement of the art world in an attempt to determine what makes a particular…
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.
A perpetually useful and inspiring book. Shattuck’s study of modern art in France came out in 1955 and remains a lively source for understanding how key artists—Alfred Jarry, Henri Rousseau, Erik Satie, and Guillaume Apollinaire—absorbed and reshaped traditions in writing, painting, and music, and launched the ethos of avant-garde aesthetics in the 20th century. A master storyteller, Shattuck situates his artists in their time, place, and culture with novelistic flair.
