Elisabeth Sussman

It was a bit of a risk reading two Keith Haring books almost back to back (especially when the first was based on the magnum opus that he had planned to publish before his untimely death), but this catalogue from his major retrospective exhibition at the Whitney Museum of American Art in 1997 stood up well in comparison. I found about half of the written pieces readable (a higher percentage than normal!), focusing my efforts on those written by his close friend Ann Magnuson and the small show more panoply of interviews which revealed a more intimate perspective on Haring’s art and his life. I tire of art critique, no matter how well-informed and perceptive, as it often creates a distance between the artist and their work, and in the case of Haring it feels particularly adverse; his life was his art, so reading a summary or interpretation of his life by a third party just doesn’t cut it. It takes a personal touch to get the real story (or at least a version of the real story), and the small glimpses provided alongside the artwork here were heartfelt in the best way possible. The accompanying artwork was expectedly wonderful as well, showcasing examples from a wide range of Haring’s output. Some of the pieces we have seen before, of course, but I was stunned by the range of 3D pieces, photographic/textual collages, and apparently never-ending paintings and drawings. Is it actually possible to see all of Haring’s work? At this point, I would argue it’s not, since the more I consume, the more of it there seems to be! Not that we’re complaining, since we could never tire of his inventive, satirical, thought-provoking, and downright fun style! show less

Robert Gober's sculptural works trigger disquieting thoughts and feelings about the most commonplace aspects of our daily lives. Gober first came to public attention in the mid-80s with his simple variations on the domestic sink, which were deprived of faucets and drains and thus rendered nonfunctional--highlighting, among other things, a neurotic frustration particular to rituals of cleansing. Since then Gober's work has rarely strayed from the recreation of such familiar objects as drains, show more doors, children's furniture and the human body. In his hands, these routine props of existence--always crafted meticulously by the artist--suggest larger themes around childhood, domesticity, sexuality, victimization and religion.
At 544 pages, Robert Gober: Sculptures 1979-2007 is a monumental catalogue raisonne of sculptures and installations. It includes approximately 250 works, all of which are reproduced in large format. Comprehensive descriptions are complemented by the artist's own commentary on individual works, as well as technical information on their manufacture. show less

Diane Arbus: A Chronology is the closest thing possible to a contemporaneous diary by one of the most daring, influential and controversial artists of the twentieth century. Drawn primarily from Arbus' extensive correspondence with friends, family and colleagues, personal notebooks and other unpublished writings, this beautifully produced volume reveals the private thoughts and motivations of an artist whose astonishing vision derived from the courage to see things as they are and the grace show more to permit them simply to be. Further rounding out Arbus' life and work are exhaustively researched footnotes that amplify the entire chronology. A section at the end of the book provides biographies for 55 family members, friends and colleagues, from Marvin Israel and Lisette Model to Weegee and August Sander. Describing the Chronology in Art in America, Leo Rubinfien noted that Arbus…wrote as well as she photographed, and her letters, where she heard each nuance of her words, were gifts to the people who received them. Once one has been introduced to it, the beauty of her spirit permanently changes and deepens one's understanding of her pictures. The texts in Diane Arbus: A Chronology originally appeared in Diane Arbus: Revelations. This volume makes this invaluable material available in an accessible, unique paperback edition for the very first time. show less

Realizzato in occasione della mostra al Whitney Museum del 2009, è un libro di grande formato con buone riproduzioni che coprono tutta la produzione di Eggleston, con una forte attenzione per il gruppo originario di fotografie confluito in "Guide". Gli apparati testuali non offrono moltissimo, pur non essendo privi di qualche indicazione biografica interessante (e di qualche immagine che ritrae lo stesso Eggleston).