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ART IN WORDS, WORDS IN ART
THE ART BOOK
by by Phaidon Editors
The Art Book dazzles with 600+ masterpieces, brilliantly connecting centuries of human creativity through stunning visuals and insightful commentary.
A comprehensive and beautifully curated journey th- rough art history, The Art Book (2020 Edition) stands as an essential reference for both art enthusiasts and newcomers. This revised edition brilliantly expands its scope by including previously overlooked artists and contemporary masters, making it more inclusive and representative of diverse artistic voices.
The book’s unique A-Z format breaks free from tra- ditional chronological constraints, creating unexpe- cted and enlightening juxtapositions that spark fresh perspectives on artistic expression across centuries. Each entry pairs a significant artwork with concise, illuminating text that provides context and insight wit- hout overwhelming the reader.
The addition of 40 new works, including pieces by influential artists like Hilma af Klint, Kerry James Marshall, and Zanele Muholi, demonstrates Phaidon’s commitment to addressing historical oversights and embracing contemporary developments in the art wor- ld.
This accessible yet authoritative volume serves as both a valuable reference tool and a source of inspi- ration. Its thoughtful curation and high-quality repro- ductions make it an indispensable resource for anyone interested in understanding the breadth and depth of artistic achievement throughout history.
The only minor drawback might be that some re- aders could prefer a more traditional chronological arrangement, but the alphabetical format succeeds in making art history more approachable and engaging.
HE ARTIST AS CULTURE PRODUCER
by Sharon Louden
A must-read for anyone interested in the real-wor- ld intersection of art and community impact.
This illuminating collection of 40 essays offers a vi- tal perspective on how contemporary artists navigate and influence the world beyond their studios. Editor Sharon Louden has assembled a diverse chorus of voices that effectively challenges the stereotype of the isolated artist, instead revealing how creative pro- fessionals actively shape our cultural and economic landscape.
The strength of this book lies in its real-world testi- monies - by turns practical, inspiring, and refreshing- ly honest. Artists share their experiences working in education, non-profit sectors, and corporate environ- ments, demonstrating how artistic practice can create meaningful social and economic impact. These aren’t just success stories; they’re roadmaps for sustainabi- lity in the arts.
Particularly valuable is the book’s focus on artists as entrepreneurs and community leaders. The essays provide concrete examples of how artists can expand their practice while contributing to society’s well-be- ing. For art students, established artists, or anyone interested in the intersection of creativity and com- munity, this book offers both practical guidance and inspiration.
Following the success of Louden’s first volume, this sequel further enriches the conversation about susta- ining creative lives in the contemporary world. With its accessible writing and diverse perspectives, “The Artist as Culture Producer” is an essential read for understanding the evolving role of artists in today’s society.
THE PAINTED WORD
by Robert Cumming
A witty, provocative read that challenges conventional wisdom about modern art, though it sometimes sacrifices nuance for the sake of its argument. Essential reading for anyone interested in art criticism, even if you end up disag- reeing with Wolfe’s conclusions.
Tom Wolfe’s scathing critique of modern art and its the- oretical underpinnings is as entertaining as it is controver- sial. Written with his trademark wit and flamboyant style, this slim volume delivers a powerful punch at the art world’s pretensions and the critics who, according to Wolfe, have hi- jacked modern art with their theories.
Published originally in 1975, “The Painted Word” rema- ins remarkably relevant today. Wolfe argues that modern art has become less about visual experience and more about the theories explaining it - to the point where the art itself is me- rely an illustration of the theory. He traces this development through Abstract Expressionism, Pop Art, Minimalism, and Conceptual Art, skewering sacred cows along the way with gleeful precision.
The book’s strength lies in Wolfe’s razor-sharp observa- tions and his ability to make complex art-world dynamics accessible through humor and satire. His description of how a small circle of New York critics essentially dictated what constituted “important” art is both hilarious and unsettling.
However, readers should approach this book understanding it’s more polemic than balanced criticism. While Wolfe’s ar- guments are compelling, his take is decidedly one-sided and some might find his dismissal of certain artistic movements overly harsh.
ARTIST’S LIBRARY
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