In writing New Art City, I wanted to complicate the mix. There are legendary figures - Jackson Pollock, David Smith, Willem de Kooning, Joseph Cornell, Andy Warhol, and Donald Judd - as well as still undervalued ones, such as the galvanic teacher Hans Hofmann, the lyric expressionist Joan Mitchell, the adventuresome realist Fairfield Porter, and the eccentric thinker John Graham. In all of these paintings, there was a suggestion of the collage or the ready-made, for Johns's sensitized surfaces became a mocking echo of the pancake-flat object -- a flag or a target or a map -- that he had taken as his subject. His narrative spans four decades and brings the city and its many artistic worlds alive in a vast and rich panorama. We encounter, too, the writers, critics, patrons, and hangers-on who rounded out the artists' world. Annie Cohen-Solal brings alive the influential critics and patrons, the legendary galleries, and the artists themselves. The bold splashes found receptive pale walls in the rising skyscraper city, its swell midtown apartments and its newly fashionable museums.
And Perl misses an opportunity to rectify the inexplicably languishing reputation of the late, great Milton Resnick. Going to the modern -- 12. Translucent dust jacket is unclipped, free of wear, slight smudging to decorative line at base of jacket spine. There are legendary figures--Jackson Pollock, David Smith, Willem de Kooning, Joseph Cornell, Andy Warhol, and Donald Judd--as well as still undervalued ones, such as the galvanic teacher Hans Hofmann, the lyric expressionist Joan Mitchell, the adventuresome realist Fairfield Porter, and the eccentric thinker John Graham. And there was much more: Burgoyne Diller's levitating rectangles; Nell Blaine's explosive renderings of quotidian scenes; Ellsworth Kelly's extraordinary simplifications, suggesting sails or semaphores. We encounter a kaleidoscopic range of artists.
Possible ex library copy, thatâll have the markings and stickers associated from the library. We encounter a kaleidoscopic range of artists. And it wasn't only that New York's dealers were becoming powerful, it was also that New York's museums, especially the Museum of Modern Art, were shaping the way the history of twentieth-century art was understood. Spine creases, wear to binding and pages from reading. From the Trade Paperback edition. Q: How does this period of art history differ from previous movements in American art? In this landmark work, Jed Perl captures the excitement of a generation of legendary artists—Jackson Pollack, Joseph Cornell, Robert Rauschenberg, and Ellsworth Kelly among them—who came to New York, mingled in its lofts and bars, and revolutionized American art.
An image that is also a thing -- a flag or target or map -- is one way to subdue Expressionism while keeping painterliness. He used his slurpy encaustic paint to make painterly love to his quotidian subjects. In a continuously arresting narrative, Perl also portrays such less well known figures as the galvanic teacher Hans Hofmann, the lyric expressionist Joan Mitchell, and the adventuresome realist Fairfield Porter, as well the writers, critics, and patrons who rounded out the artists'world. He was a contributing editor to Vogue in the 1980s and has been the art critic for The New Republic since 1994. Brilliantly describing the intellectual crosscurrents of the time as well as the genius of dozens of artists, New Art City is indispensable for lovers of modern art and culture. A dense text rules the textbook-sized pages -- 557 of them, not counting notes, acknowledgments and index. The art world was smaller then.
Library stamps on bottom of textblock and on ffep; no other signs of use. New York promoted a climate of feeling—a vehemence, an intensity—and artists were free to respond to that climate in any number of ways. His essays have appeared there regularly since then. The dynamism of such hothouse fixtures of mid-century New York City as the Cedar Tavern and the Club hinged on personal contacts among a wide variety of artists -- the presence of celebrated paint-slingers like de Kooning and Pollock was only part of the story. For me, it was a way of immersing myself in a world I was too young to have known firsthand. Bookseller: , Texas, United States New York: Alfred A Knopf Inc, 2005.
But having said this, I will also say that the life of art—the real life of art, which is the life of artists and ideas—goes on. Could the same have happened in Chicago or San Francisco or Los Angeles? In section after section, Perl unpacks the period primarily from the point of view of the artists working in the crucible of the New York School, retelling a familiar tale and, against all odds, breathing some fresh life into the subject. I really enjoyed catching the spirit of the streets, the encounters that artists had in bars and studios, and the jangling contrasts between the bohemian downtown neighborhoods and the sleek look of midtown Manhattan. Bumping to bottom corners of covers. There are legendary figuresJackson Pollock, David Smith, Willem de Kooning, Joseph Cornell, Andy Warhol, and Donald Juddas well as still undervalued ones, such as the galvanic teacher Hans Hofmann, the lyric expressionist Joan Mitchell, the adventuresome realist Fairfield Porter, and the eccentric thinker John Graham. The philosopher king -- 4. The surfaces were worked over -- worried over.
Book has minimal shelf and edge wear; Dust jacket has creases on top and bottom corner of front flap. All pages are intact, and the cover is intact. . It's hard to imagine research any more scrupulous than Perl's, yet words like 'history' or 'survey' make it sound too dry. I think that many New York artists didn't know how to respond to the heightened attention that they were receiving in the mid-1950s. Robert Gottlieb invites us to relive the heyday of the musical, explore the great jazz clubs of Harlem, and peek into the inventive studios of the dance world.
The spine may show signs of wear. We encounter a kaleidoscopic range of artists. The great teacher, Hans Hofmann, encouraged his students to paint both abstractly and representationally. What should one call this book, anyhow? Of the Abstract Expressionists, Pollock and Kline wrote little, but Motherwell and Newman and, most grandiosely, Clyfford Still, wrote and opined much. He lives in New York City with his wife, the painter Deborah Rosenthal. That's what I've aimed for in New Art City. Disclaimer:A copy that has been read, but remains in clean condition.
A brilliant tapestry of social history, biographical portraiture, and criticism, New Art City illuminates a revolutionary, unprecedented time and place in American culture. He coined the phrase to describe this phenomenon in a 2007 essay for The New Republic that became the introduction for his 2012 book Magicians and Charlatans. I wanted to open up the story. We encounter a kaleidoscopic range of artists. New Art City: Manhattan at Mid-Century. Many retreated from public view, while others were glad to sell out.