In the author’s latest book “In the Land of the Cyclops,” I want to see what Knausgaard sees, even when I’m overwhelmed by it or disagree.
Prosaic and profound, Horn’s book “Island Zombie” feels like standing before art again.
Roxana Robinson’s biography of the artist features letters from a young O’Keeffe to a lover, which offer some unexpected art historical insights.
The art historian Mary Garrard’s lively account of Artemisia Gentileschi is timely in its exploration of her art which was composed of anger, accusation, and even humor.
“If the world is to be saved, it will be the women who save it,” said the American Impressionist, who led a headstrong life as a woman abroad.
Emily Mason remembers her mother saying, “I’ll be famous when I’m dead.” Though fame may not be quite secured (yet), the artist’s first-ever monograph acts as bulwark against forgetting her legacy.
California has a rich history of artful book making. Here’s a small sampling of presses old and new.
Artist and scholar Stefano Bloch has written a story that is personal, but also a primer on graffiti’s history and artistic and social import.
Fein, who turns 100 years old today, may be the last Surrealist artist still standing.
The title of Great Women Artists is complete with a strikethrough across “women,” to indicate that the artists within are “great artists” regardless of gender. Visually, it’s arresting, but its intention is murky.
The show is essentially a love story, arranged both chronologically and thematically, and unfolds almost like a serial novel. A precursor to Proust, say, in paint.
The results are arresting, as the writers, who are also men in prison, make anonymous images their own, speaking out of their own experiences, bringing insights and empathy that no outside critic or art historian could.